“Dragon Spring Phoenix Rise” is his most ambitious undertaking yet. In those roles, he commissioned an opera that paired the artist Marina Abramovic with Willem Dafoe, and a ballet, adapted from a Jonathan Safran Foer book, that featured a score by the electronic music producer Jamie xx and choreography by Wayne McGregor. Poots, one of the contemporary art world’s most exuberant and prolific matchmakers, served as the artistic director of the Park Avenue Armory and the founder of the Manchester International Festival in England. Another custom stage, this one built for Björk, occupied the space where the plateau is now, at the center of this highly flexible 1,200-seat theater, the McCourt.īefore joining the Shed, Mr. May 10 | 43 Days before previews begin The Ghost of Bruce LeeĪ month before Abdiel and Xavier arrived, Alex Poots, the CEO and artistic director of the Shed, was sitting in the same spot, clicking at his laptop. “You better pray!” Abdiel howled from the base of the stage, drawing laughs from the crowd that had gathered there. The technician with the rope fastened him in. It was June 12, a little more than a week before audiences would be watching, and for the first time the dancer-turned-warrior was strapped into a nylon harness that would raise him 80 feet into the air. “Remember: If you want to come down, just say ‘Down,’” an aerial coordinator with a loose bun of gray hair said to Xavier. And cast members, consisting almost entirely of contemporary dancers who were given a crash curriculum (martial arts training, aerial choreography and singing lessons) to transform them into futuristic warriors, faced an even steeper challenge.
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