everything is a way of denying the present. Paul DeMasson plays a humorous and empathetic character who sustains the ballerina, as she recalls glimpses from three phases of her life. Bejart’s vision is depicted through strong imagery, such as in the opening scene showing the ballerina enclosed in a giant 'skirt' made of a mound of old pointe shoes.
In an interview in Lausanne, Gielgud said she was “enchanted to be working with Béjart again” after having danced with his company from 1967 to 1971.
The late Maurice Béjart’s ‘rock star’ status and creative genius as a uniquely theatrical choreographer and producer is acknowledged throughout Europe, Asia, and the Americas. “I have permitted myself to work on one of the 20th Century’s most important plays, Happy Days by Samuel Beckett. It is not a danced adaptation, but in fact a composition simultaneously true to the spirit of the author, while in the domain of a purely abstract choreographic creation. The music comprises a montage of themes primarily by Webern, but also by Mahler and by Mozart” - Maurice Béjart.
The Exquisite Hour is presented in association with The Australian Ballet, with the last performance on Sunday August 17th at 3:00pm to include a Special Post-Performance question and answer session with Maina Gielgud, chaired by David McAllister, Artistic Director of The Australian Ballet.
Tickets go on Sale on Monday June 2nd.
The Exquisite Hour
Dates: August 12th-17th
Venue: Theatre Royal, 108 King Street, Sydney
Contact: Ticketek 1300 795 012 www.ticketek.com.au
www.exquisitehour.com.au
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