Eleven performances in eight days.
Ballet Preljocaj stunned Washington DC audiences this weekend with Jean Paul Gaultier-costumed 'Snow White' http://t.co/g66te9Ar
— Ballet to the People (@Carla_Escoda) April 1, 2012
'Nightmare Dreamer': tragi-comedy about the absurd expectations an anxiety-ridden society places on its politicians. http://t.co/De0BpOcQ
— Ballet to the People (@Carla_Escoda) April 2, 2012
Elena Roger as #Evita rose above clunky production in preview performance tonight. (Sometimes naturalism isn't most interesting way to go.)
— Ballet to the People (@Carla_Escoda) April 3, 2012
Not enough #tango, too much #HowToSucceedInBusinessWithoutReallyTrying in Rob Ashford's choreography for #Evita.
— Ballet to the People (@Carla_Escoda) April 3, 2012
Lowest choreographic moment in #Evita – Colonel Peron out-maneuvering his military rivals – has all the wit of a high school cabaret.
— Ballet to the People (@Carla_Escoda) April 3, 2012
Michael @cerveris played Juan Peron w/ the creepiness he brought to Sweeney Todd + warmth toward #Evita & bewilderment at her machinations
— Ballet to the People (@Carla_Escoda) April 3, 2012
#Evita cast needs to work on ACCENTS! We're hearing everything from Midwestern twang to clipped British tones. (Though Roger is a native.)
— Ballet to the People (@Carla_Escoda) April 3, 2012
@HuffPostCulture NY critics hate to agree w/ London peers that Elena Roger's rendering of #Evita as cold calculating b*tch is brilliant.
— Ballet to the People (@Carla_Escoda) April 6, 2012
@HuffPostCulture Ricky Martin played Che as goofy schoolboy. Not till end of #Evita did he find cynical world-weary air. Once a pop star…
— Ballet to the People (@Carla_Escoda) April 6, 2012
@oncemusical on Broadway is some kind of miracle: not a cute almost-romance but a meditation on how music moves us, connects us, saves us
— Ballet to the People (@Carla_Escoda) April 4, 2012
Enda Walsh’s gentle riffs on culture clash between Irish & immigrant Czechs in @oncemusical are touching, often funny http://t.co/z8D2lpeX
— Ballet to the People (@Carla_Escoda) April 4, 2012
@oncemusical choreography by Steven Hoggett (also: American Idiot) is stripped-down, gestural, gut-wrenching http://t.co/X2V6Fud8
— Ballet to the People (@Carla_Escoda) April 4, 2012
#Godspell revival a trainwreck of good intentions. Timeless songs & bright vocal talent derailed by tired staging, lame jokes & slapstick.
— Ballet to the People (@Carla_Escoda) April 5, 2012
Crucifixion scene in #Godspell only truly moving moment in this overcaffeinated production. (10 mini-trampolines NOT cute, just annoying.)
— Ballet to the People (@Carla_Escoda) April 5, 2012
@TribesthePlay: a dysfunctional family torn apart as deaf son finds new voice w/ help of an irresistible young woman fighting her own demons
— Ballet to the People (@Carla_Escoda) April 5, 2012
Scathing dialogue in @TribesthePlay peaks as deaf son’s girlfriend expresses her frustration in a beautiful, seductive sign language passage
— Ballet to the People (@Carla_Escoda) April 5, 2012
Sensitive revival of #LostInYonkers by @TACTnyc proves Neil Simon is as great a tragedian as he is a comedian
— Ballet to the People (@Carla_Escoda) April 6, 2012
#HowToSucceedInBusiness Inventive staging & choreography by Rob Ashford floats all boats, incl. modest talents of Nick Jonas & Beau Bridges
— Ballet to the People (@Carla_Escoda) April 7, 2012
Brilliant Rob Ashford choreography throughout #HowToSucceedInBusiness but most especially in #CoffeeBreak (@ 2:55) http://t.co/JQ1O2ibl
— Ballet to the People (@Carla_Escoda) April 7, 2012
#EndOfTheRainbow intermission. Tracie Bennett so damn convincing as fading Judy Garland, worried she will self-destruct before end of Act II
— Ballet to the People (@Carla_Escoda) April 7, 2012
"Drive till you smell gravy" Judy Garland orders young fiancé to bring roast beef & Yorkshire pudding to her London hotel #EndOfTheRainbow
— Ballet to the People (@Carla_Escoda) April 7, 2012
West End stars conquer Broadway – Elena Roger as #Evita, Tracie Bennett as Judy Garland – deconstructing the dark side of celebrity.
— Ballet to the People (@Carla_Escoda) April 7, 2012
"Your generation is all or nothing. Vegans and meth addicts. Sometimes both." Stockard Channing zinger in #OtherDesertCities
— Ballet to the People (@Carla_Escoda) April 8, 2012
Jon Robin Baitz' #OtherDesertCities not as finely crafted as his #BrothersAndSisters, with only 2 hours to unravel nasty family secrets
— Ballet to the People (@Carla_Escoda) April 8, 2012
#OtherDesertCities characters trite and one-dimensional, apart from devastating performance by Stockard Channing. #AndTheTonyGoesTo
— Ballet to the People (@Carla_Escoda) April 8, 2012
Seats kinda hard @PublicTheaterNY but luxury compared to drab office furnishings onstage #GATZplay Scott Shepherd an Olympic athlete
— Ballet to the People (@Carla_Escoda) April 8, 2012
"Didn't want you to think I was just some nobody" Jay #Gatsby murmurs slyly while the #4 train rumbles under our seats @PublicTheaterNY
— Ballet to the People (@Carla_Escoda) April 9, 2012
"Full of money" is how Gatsby describes his lover Daisy Buchanan's voice, and why he reveres her. Shocking dénouement approaches. #GATZPlay
— Ballet to the People (@Carla_Escoda) April 9, 2012
Time stands still in a 6-1/2 hr marathon reading which transports a dingy office & its occupants into Gatsby's world #GATZPlay
— Ballet to the People (@Carla_Escoda) April 9, 2012
Daisy Buchanan chooses status over love, proving that the American dream is just a mirage #GATZPlay http://t.co/yOtmPv6R
— Ballet to the People (@Carla_Escoda) April 9, 2012
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