Word: baryshnikov
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...tapes and movement in performance, manages to shift smoothly into the more formal vocabulary of classical ballet. Field, Chair and Mountain is set to a noisy concerto by the 19th century Irish piano virtuoso John Field (thus the Field in the title). In commissioning the piece, Artistic Director Mikhail Baryshnikov asked only that Gordon use a set, and Gordon came up with an inventive one. Executed with cheeky wit by Santo Loquasto, it unfolds from left to right like a Japanese screen: first a sort of rock field, then above it, an orange mountain on which are painted more folding...
...looks somewhat shallow; it does not try to fill the stage in a proper Petipa way. In most other respects it is very much in the classical style. For one thing, it takes very seriously the imperial role of its ballerina, Martine van Hamel. In the past few years Baryshnikov has invited several innovative choreographers to work for A.B.T., and not all have been successful. With her pure, ample style, Van Hamel has been much in demand and as a result has soldiered her way across some very murky terrain. Here she is radiant, a naturally commanding figure. The ballet...
...Joffrey, never a company in robust financial health, turned naturally to the work of the late John Cranko because the Joffrey had success when it staged his Taming of the Shrew. Similarly, A.B.T. went to MacMillan, who signed on five months ago as "artistic associate" to Artistic Director Mikhail Baryshnikov. Each organization claimed ignorance of the other's plans until it was too late to change them. The result is that audiences in Washington, Los Angeles and New York City will have their choice of Romeos between now and May and that nationwide there will be several opportunities...
Every move Mikhail Baryshnikov makes, onstage and off, seems to have been recorded and analyzed. In fact, more than half his professional life was lived in a shadow-the years before 1974, when he came to the U.S. Now, thanks to Theater Critic and Photographer Nina Alovert, who left the Soviet Union three years later, the dancer's Soviet career has been recaptured in Baryshnikov in Russia (Holt, Rinehart & Winston; 212 pages...
...truth this is the Prince's ballet-call it Prince Charming? Cinderfella?-and in an enterprise that seeks to shed conventional trappings, that may not be all bad. It should be noted that in his squabble with the A.B.T. board, Baryshnikov insisted that his presence onstage should not be counted upon for fund raising, so he must take satisfaction in producing a solid hit in which he has not yet appeared. But even if he never dances the role, Baryshnikov's offhand drollery and mildly subversive comic presence animate the part. This Prince is not a romantic sufferer...