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“In Limón, the line is balletic, but from a different principal,” he said. “You oppose constant gravity; stretch an arm in one direction, and a leg in the other. It’s classical Humphrey-Weidman opposition. The struggle makes us human. I am Mexican and male, but I live in America and share my life with a woman. Those oppositions create people, and powerful dance.”
There’s been general consensus that the New York theatre season has been a middling one. Little of a groundbreaking nature opened on Broadway, though some interesting work appeared off-Broadway. Nevertheless, even a mediocre season on Broadway produces enough of interest to keep one busy over what amounted to a long weekend (shows Friday evening, three on Saturday, and two the following Wednesday)…
Mainly Mozart’s festival orchestra under the baton of maestro David Atherton sounded as sleek and sonically unified as we have come to expect from this cadre of first-chair players drawn from orchestras across North America. But it was the three stellar soloists, clarinetist Anthony McGill, pianist Anne-Marie McDermott, and violinist Nadja Salerno-Sonnenberg, who made us feel we were attending one of those chic European festivals nestled in an historic spa-town instead of a restored movie palace in downtown San Diego.
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