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DTSTAMP:20261016T232920Z
UID:190540e0-4802-4ee4-bbdc-58e67166b804
DTSTART;VALUE=DATE:20261029
DTEND;VALUE=DATE:20261030
DESCRIPTION:Oct 29-30\, 2026\nIf Diaghilev had had Christopher Williams on 
 his Ballets Russes roster\, the Russian impresario wouldn’t have had to 
 corral Picasso for sets or Satie for a score. Williams would have done it 
 all himself\, or\, better yet\, riffled through a thousand years of classi
 cal and Christian sources for the perfect story and setting to fit the sco
 re\, to which he would have supplied choreography that was wholly contempo
 rary and rigorous yet marbled through with older folk dances\, or at least
  a Western fantasy of them. Indeed\, what amazed major critics in the majo
 r New York magazines and newspapers two decades ago\, when this American o
 riginal broke into view\, was\, first\, the sophistication and sheer ambit
 ion of his choreography—it is choral and musical and grows in evident st
 rength when he casts virtuosos (New York City Ballet’s Taylor Stanley\, 
 say)—and\, second\, that despite their radical-fairy air the dance-drama
 s seem to have already existed. Sometimes they have. For this season’s a
 ddition to his ongoing project “Queering the Canon: Reimagining the Ball
 ets Russes”\, Fokine’s Spectre de la Rose is the obvious source\, even
  if the ballroom that the girl dreams of is a Voguers’ palace and she is
  that special kind of “girl.”
LOCATION:92nd Street Y\, 1395 Lexington Ave\, New York\, NY 10128\, United 
 States
SUMMARY:Christopher Williams: Spectre de la Rose & La Rhétorique des Dieux
URL;VALUE=TEXT:https://airmail.news/arts-intel/events/christopher-williams-
 spectre-de-la-rose-la-rhetorique-des-dieux
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