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Harrison James

 
Emerging Arts Critics Programme

On the Edge of Our Seats for the Retelling of a Classic Myth

By Leah Borts-Kuperman

In Orpheus Alive, the audience members are gods; we’re pulled into the story and cast as divine judges in the Greek myth of Orpheus and Eurydice.

 
Emerging Arts Critics Programme

Orpheus Redux

By Rebecca Flemister

The National Ballet of Canada offers a glimpse of both ballet’s past and promising future in the company premiere of George Balanchine’s Chaconne, paired with the world premiere of Robert Binet’s Orpheus Alive.

 
Emerging Arts Critics Programme

Twisted Sisterhood

By Jane Coombs

There’s a beautiful peasant girl, a handsome count and a waltz-happy village overflowing with wine. But one fatal lie lurks beneath this Cinderella story.

 
Emerging Arts Critics Programme

Ghosts of the Past

By Arlan Vriens

Hot on the heels of Halloween, The National Ballet of Canada’s Giselle delivered supernatural chills, youthful exuberance and poignant heartbreak.

 

Reclaiming Narrative for a Contemporary Audience

Josh Beamish’s @giselle By Rachel Silver Maddock

In @giselle, Josh Beamish takes the tragic romance of Giselle, which dates back to 1841, and inserts a third player, social media, to expose its role in modern-day relationships.

 
On the Ground

Competition Becomes Celebration

By Erin Baldwin

In many ways, The Erik Bruhn Prize does away with the cutthroat atmosphere of competition and becomes more like a showcase for burgeoning young dancers, contemporary choreography and some of the finest pas de deux in the classical repertoire.

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