Wesley Doucette

Wesley Doucette


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BWW Review: NYCB Classic at Lincoln CenterBWW Review: NYCB Classic at Lincoln Center
Posted: Feb. 14, 2019


LAST 365 DAYS

BWW Review: AVIGNON THEATRE FESTIVAL Presents LA REPRISE by MILO RAUBWW Review: AVIGNON THEATRE FESTIVAL Presents LA REPRISE by MILO RAU
Posted: Jul. 10, 2018


BWW Review: AVIGNON THEATRE FESTIVAL Presents MEDUSE By LES B?TARDS DORESBWW Review: AVIGNON THEATRE FESTIVAL Presents MEDUSE By LES B?TARDS DORES
Posted: Jul. 25, 2018


BWW Review: OPERA GRAND AVIGNON Presents LE NOZZE DI FIGAROBWW Review: OPERA GRAND AVIGNON Presents LE NOZZE DI FIGARO
Posted: Oct. 25, 2018


BWW Review: COMPAGNIE DU VINGT TROIS Presents FOOL FOR LOVEBWW Review: COMPAGNIE DU VINGT TROIS Presents FOOL FOR LOVE
Posted: Sep. 24, 2018


BWW Review: BIG DEAL, BOB FOSSE AND DANCE IN THE AMERICAN MUSICAL By KEVIN WINKLERBWW Review: BIG DEAL, BOB FOSSE AND DANCE IN THE AMERICAN MUSICAL By KEVIN WINKLER
Posted: Aug. 3, 2018


BWW Review: AVIGNON THEATRE FESTIVAL Presents KREATUR by SASHA WALTZ
July 10, 2018

The figures that appear in Sasha Waltz's Kreatur, now in performance at Opera Confluence at the Avignon Theatre Festival, defy belief. The incomparable costume design by Iris van Herpen transforms the human body with spikes, light as air cocoons, and patterns that appear and disappear from view depending on the angle. Soundwalk Collective's soundscape fascinates as it distorts electronic rhythm, industrial machinery, the sounds of nature, and, in one fabulous instance, The Nutcracker's 'Arabian Dance.' With so many elements of the performance attempting to drag the spectator to an alternate dimension, it is a shame that the world on stage remains one of concert dance convention.

BWW Review: AVIGNON THEATRE FESTIVAL Presents LA REPRISE by MILO RAU
July 10, 2018

'Milo Rau has created nothing short of a shocking success. I pray the day comes when such artistic experiences are not necessary. Though in our world of catastrophe, he offers something visceral and vital.'

BWW REVIEW: American Ballet Theatre's LE CORSAIRE
June 19, 2017

Petipa, who of the three choreographers listed in the program has the most influence on American Ballet Theatre's Le Corsaire, knows how to create a dramatic excuse for dance. With a few notable exceptions, 'Giselle' and 'Romeo and Juliet' come instantly to my mind, declarative dance which spends twenty minutes to hammer out an 'I love you' through pirouettes can be draining and leave the audience thinking 'Just spit it out.' Petipa, clearly seeing this dramatic shortcoming, forms his ballets around vast pageants, processionals, and presentations. The Black Swan seduces by exhibition at a banquet, the last glorious act of The Sleeping Beauty is a virtually plotless celebration, and practically the entire Nutcracker is a series of vignettes formed around a presentation. Le Corsaire is no different. The first act features the presentation of several ballerinas. The second act is centered around the principal dancers performing to 'entertain the group'. Then, in act three, a pasha spends a lengthy amount of time in a dream sequence which features, what else, women and flowers. Superficially, this all works wonderfully and the dancers shamelessly take this opportunity to exploit their most acrobatic technique. The piece's issues begin upon the introduction of the words 'slave girls.'

BWW Review: American Ballet Theatre's THE GOLDEN COCKEREL
June 8, 2017

1914 is not a year that should conjure much nostalgia for those who survived it. Among smaller aggravations, the year marked the assassination of the Archduke Franz Ferdinand and resulted in a half decade war, the likes of which the world had not seen. The year also marked the premiere of Fokine's 'The Golden Cockerel' by The Ballets Russes. Fokine, their first choreographer, was no stranger to '(Description) (Bird)' pieces whether it be 'The Dying Swan,' 'The Firebird,' or 'The Gold Cockerel.' 'The Golden Cockerel' was in his established career and it, unlike the previous year's infamous 'Rite of Spring,' was a jewel box escape from the hostile international climate. The warmth of this piece served a Parisian audience in search of the early 1910's glow, which was probably a distant memory by then. Today, scrupulously mounted by ABT under the direction of Ratmansky and with designs by Richard Hudson (off of the Natalia Goncharova originals,) 'The Golden Cockerel' is a charming aesthetic study even as it has waned as a satisfying evening of dance.

BWW Review: NEW YORK CITY BALLET's THE DECALOGUE
May 24, 2017

Justin Peck's newest work, 'The Decalogue,' was placed at the far end of a daunting program this past Thursday as part of New York City Ballet's expansive 'Here/Now' festival. Following Lynne Taylor-Corbett's resonate 'Chiaroscuro,' Jorma Elo's sublime 'Slice to Sharp,' and Peter Martins' transportive, if overlong, 'Stabat Mater,' the sting of anticlimax would have been difficult to avoid for even the most robust work. The evening's narrative was moving to an aesthetic statement, but riding these pieces was also a burden of archaic catharsis which 'The Decalogue' is not equipped to shoulder. However, if dislodged from the context of the program, Justin Peck's newest work represents his most mature excavation of dance form and gives hope that ballet can be not simply dressed up in new fashion, but have its soil tilled for invigorating innovation.

BWW Review: NEW YORK CITY BALLET's New Combinations 2017
February 6, 2017

A review of three works presented at the New York City Ballet's 'New Works' program.

BWW Blog: MOURNING SUN in Uganda
January 6, 2017

Wesley Doucette on the presentation of MOURNING SUN in Uganda as discussed in an interview with performer Adrian Baidoo.

BWW Dance Review: FJK DANCE Presents 'Mundo'
November 21, 2016

Wesley Doucette on FJK DANCE's 'Mundo'

BWW Feature: ANATOMIAE OCCULTI's 'Sweeney Todd' Development Presentation
October 21, 2016

A look at Anatomiae Occulti's development presentation of Sondheim's 'Sweeney Todd.'

BWW Dance Review: NEW YORK CITY BALLET'S 'American Composers'
October 7, 2016

A review of the New York City Ballet 'American Composers' program featuring: 'Glass Pieces' by Robbins, 'Thou Swell' by Martins, and 'Stars and Stripes' by Balanchine.

BWW Dance Review: American Ballet Theatre's SWAN LAKE
June 27, 2016

BWW Reviews 'Swan Lake' by ABT starring Maria Kochetkova.

BWW Dance Review: American Ballet Theatre's SYLVIA
May 19, 2016

A review of ABT's performance of 'Sylvia' at the Met Opera House.

BWW Interview: Q&A With PS122 Gala Honorees: Annie-B Parson & Paul Lazar
May 2, 2016

A Q&A with PS122 Gala's Honorees: Annie B Parson and Paul Lazar

BWW Review: LES FETES VENITIENNES
April 22, 2016

A review of Robert Carsen's direction of 'Les Fetes Venitiennes,' as performed by Les Arts Florissants and L'Opera Comique at BAM.

BWW Review: NEW YORK CITY BALLET's 'New Combinations' Isn't as Innovative as the Program Title Suggests
February 18, 2016

Justin Peck's 'Most Incredible Thing' headlines this program of new works.

BWW Review: ON SONDHEIM an Opinionated Guide by Ethan Mordden
December 21, 2015

Ethan Mordden's guide of Sondheim's work, process, and aesthetic.

BWW Review: CTFD Gala at City Center
October 6, 2015

Career Transitions for Dancers Presents Star Studded Retrospective at City Center.

BWW Reviews: ANTIGONA by Noche Flamenca and Soledad Barrio
July 28, 2015

Noche Flamenca and Soledad Barrio collaborate to reconstruct the totemic Greek tragedy.

NEW ADAGIO: Maureen Fleming
June 5, 2015

A discussion of the life and process of renowned performer/choreographer Maureen Fleming.

BWW Reviews: ABT's THE SLEEPING BEAUTY at The Met
June 1, 2015

Review of ABT's timeless recreation of Tchaikovsky and Petipa's 'Sleeping Beauty' as staged by Ratmansky.



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