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Pennsylvania Ballet - 'La Fille Mal Gardee'
By Lori Ibay -- March 4, 2005, Academy of Music, Philadelphia
Sir Fredrick Ashton's "La Fille mal gardee" is an ambitious undertaking for a relatively small ballet company like Pennsylvania Ballet to tackle as their first full-length ballet of the season (excluding "Nutcracker").

Royal Ballet - Double Bill: 'Dances at a Gathering' and 'The Dream'
By Ana Abad-Carles -- June 9, 2008, Royal Opera House, London
On a happier note, the revival of “The Dream” was a much better occasion. Leanne Benjamin and Edward Watson gave intelligent, mature and layered interpretations to their roles.

San Francisco Ballet - Program 7: Ashton's Assets
By Dean Speer, April 18, 2004 -- War Memorial Opera House, San Francisco
Sir Frederick Ashton's ballets are not done often enough on this side of the Atlantic, nor are they in the repertories of many companies.

'Paris Opera Ballet - 'La Fille mal gardée'
By Elizabeth McPherson -- June 22, 2007, Palais Garnier, Paris
“La Fille mal gardée” was a joy to experience from start to finish. The humorous choreography was wonderfully embodied by the outstanding cast, and almost continuous laughter and chuckling was heard from the audience.

Oregon Ballet Theatre - Modern Masters: A Study in Contrasts
By Dean Speer -- May 9, 2004, Newmark Theatre, Portland, Oregon
The coup de grace of the afternoon had to be Frederick Ashton’s "Façade," set to the music of William Walton. This is a piece that’s meant to be seen many times, and it so well path for later works like Kenneth MacMillan’s "Elite Syncopations," done recently at San to Francisco Ballet, and which also features outrageous, zany, and fun characters doing period social dances of the day.

The Royal Ballet - 'La Valse', 'Homage to the Queen', Divertissements
By Cassandra -- June 8, 2006, Royal Opera House. London
The opening work was “La Valse”, a piece best described as ‘minor Ashton’. I suppose it was chosen because it gets a sizeable corps onto the stage, but even the fact that the dancers were led by the stylish Marianela Nunez didn’t bring it to life as far as I was concerned.

San Francisco Ballet - 'Monotones I and II,' 'Thaïs pas de deux,' 'Symphonic Variations,' 'Elite Syncopations': Funky Hat Day at the Ballet
By Jeff Kuo -- April 17, 2004, War Memorial Opera House, San Francisco
Despite harsh words at the time of the War of the American Rebellion (as the American Revolution is incorrectly called in Britain), it is generally agreed that Americans like things British – e.g. the Beatles, the late Princess Diana, fish & chips, etc...

Royal Ballet - 'La Fille Mal Gardée'
By Ana Abad-Carles - April 26, 2006, Royal Opera House, London
There are few ballets that are as enjoyable as “La Fille Mal Gardée,” and even fewer that can rightfully claim to be a choreographic masterpiece. Though the odds were against Ashton when he decided to rework this masterpiece from the past, he managed to produce a work of genius capable of sustaining the audience’s delight, in spite of the music and the story.

San Francisco Ballet - 'Monotones I and II,' 'Thaïs pas de deux,' 'Symphonic Variations,' 'Elite Syncopations'
By Mary Ellen Hunt -- April 13, 2004, War Memorial Opera House, San Francisco
If I were to describe Ashton, I would say he is what Americans stereotypically think of when they imagine Brits. Often reserved, given to vast understatement at times, but then also capable of biting, quick wit and clever, very clever.

Royal Ballet: Inspired by Ashton
By Cassandra - June 16, 2005, Linbury Theatre, London
Inspiration can take many forms, but it was intriguing to discover that the two most successful items in the programme "Inspired by Ashton" seemed to have no possible link with Britain’s most celebrated choreographer at all.

Music made visible - Ashton's 'Five Brahms Waltzes in the Manner of Isadora Duncan'
By Jane Pritchard
'Five Brahms Waltzes in the Manner of Isadora Duncan' , choreographed by Frederick Ashton, is an evocation of the dances of the American-born Isadora Duncan (1877 – 1927), one of the great pioneers of modern dance, whom Ashton described as a dancer of ‘grace and power’.

American Ballet Theatre - 'Sylvia'
By Cecly Placenti - June 15, 2005, Metropolitan Opera House, New York City
The curtain rises on a pastoral scene as nymphs and woodland creatures dance before the shrine of Eros, God of Love. Triumphant and Amazonian enters Sylvia, one of Diana’s huntress nymphs sworn to chastity, and her attendants, victorious from their hunt.

Rambert Dance Company - 'Irony of Fate', 'Songs of a Wayfarer', 'Tragedy of Fashion', 'Swamp'
By Annie Wells - February 23 , 2005, Theatre Royal, Brighton, England
Though not all would have captured the full significance of Ian Spink, Antony McDonald and Juliette Blondelle’s 2005 reworking of Frederick Ashton’s sharp-edged comedy "Tragedy of Fashion"; the bright colours and wicked humour lifted the atmosphere like the arrival of a dessert trolley.

Birmingham Royal Ballet - Ashton Celebration: 'The Two Pigeons'
By Jerry Hochman -- July 9, 2004, Metropolitan Opera House, Lincoln Center, New York City
It’s all too rare to get excited about ballet performances these days. I appreciate great individual performances and great ballets when I see them, but rarely does everything mesh. It did tonight at the Met. The Birmingham Royal Ballet’s performance of Frederick Ashton’s "The Two Pigeons" was miraculous.


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