It seems there comes a point in every choreographer’s career when one decides to tackle The Rite of Spring.  To create one’s own Rite of Spring, in the shadow of such heavyweights as Nijinsky, Bausch and MacMillan, is brave to say the least. Michael Keegan-Dolan’s The Rite of Spring for his company Fabulous Beast Dance Theatre is not only brave in this regard: it is daring in its deviance from the traditional narrative and in some of the striking, and dare I say, more outlandish decisions, which are also a feature of the second piece in the performance, Petrushka. (more…)

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