Doug Fullington takes us behind the scenes on the last rep of our season, Pictures at an Exhibition. George Balanchine choreographed La Source to help push an upcoming dancer (John Clifford) to his highest potential, Jerome Robbins choreographed Opus 19/The Dreamer on Mikhail Baryshnikov during the year he was a dancer at New York City Ballet, and we learn why Alexei Ratmansky chose Wassily Kandinsky's work as the backdrop for Pictures at an Exhibition.
Peter Boal does a Q&A with Wendy Whelan, chatting about her first staging experience (with Ratmansky's Pictures at an Exhibition), her new documentary Restless Creature, and how she was recently published in The New York Times writing about her first time dancing a Balanchine ballet (which coincidentally was the same day he died).
Doug Fullington takes us behind the scenes on Ballet on Broadway. He talks about the climactic moment in Wheeldon's Carousel (A Dance), reminds us about the ballet-within-a-play concept of Balanchine's Slaughter on Tenth Avenue and has a few stories about Jerome Robbins' reputation for being a strict task-master.
Doug Fullington (PNB's Audience Education Manager) introduces the three ballets included in Director's Choice: David Dawson's Empire Noir, William Forsythe's New Suite and Jessica Lang's Her Door to the Sky.
Doug Fullington (PNB's Audience Education Manager) discusses Jean-Christophe Maillot's Cendrillon. He talks about the evolution of full-length story ballets and the way Maillot's Cendrillon is different from your traditional Cinderella.
Doug Fullington talks about how we became the first company to perform Brief Fling music with a live orchestra, how the couples in Forgotten Land could be seen as the various stages of a relationship, and the amazing speed with which George Balanchine choreographed Stravinsky Violin Concerto, in honor of the death of Igor Stravinsky.