Tag Archives: Dorothy Chandler Pavilion


STARDUST, a new work by Complexions Contemporary Ballet celebrating the music of David Bowie, will be performed at the Music Center this weekend in its Los Angeles premiere.

For many years following the 1972 release of The Rise and Fall of Ziggy Stardust and the Spiders From Mars, Bowie had discussed staging alternative versions of his work beyond the concert stage:

Songs by Roxy Music replaced the Bowie material Todd Haynes had planned to use for his film Velvet Goldmine (1998) after Bowie made it clear he was still planning his own movie. But this never came to pass.

Similarly, talk of a Broadway show went nowhere until, at the end of his life, Bowie and Enda Walsh put together the off-Broadway musical Lazarus, directed by Ivo van Hove.

Bowie worked with Montréal’s La La La Human Steps for his Sound + Vision tour in 1990, and elsewhere in the dance world, Michael Clark is well known for his homages to Bowie. Come, Been and Gone utilized vintage numbers like “Jean Genie” and the title cut from Aladdin Sane, and after Bowie’s death in 2016, Clark reformated and retitled the work as To a Simple Rock ’n’ Roll… Song, which opened with “Blackstar” from Bowie’s final studio album.

Now, Complexions Contemporary Ballet’s founding choreographer Dwight Rhoden and his powerful company bring us STARDUST, which had its world premiere in Detroit in 2016. The show—which opens with “Lazarus”—brought down the house at the Joyce Theater last fall.

STARDUST will be preceded by the 30-minute piece BACH 25.


Friday and Saturday, April 20 and 21, at 7:30 pm.

Sunday, April 22, at 2 pm.

Dorothy Chandler Pavilion

135 North Grand Avenue, downtown Los Angeles.

Top and above: Photographs by Moira Geist.

Below: Complexions Contemporary Ballet, Stardust. Photograph by Breeann Birr.



In one of the most artistically successful collaborations ever presented at the Dorothy Chandler Pavilion, the L.A. Opera has joined with the Hamburg Ballet’s John Neumeier and the Joffrey Ballet of Chicago to bring Gluck’s ORPHEUS AND EURYDICE to the stage.

Neumeier—who directed, choreographed, and designed the sets, costumes, and lighting—guides his singers and dancers across the dance studio (Orpheus is a choreographer in this production) and through the underworld to mesmerizing effect. Gluck’s 1762 piece was opera’s first Gesamtkunstwerk, and, with its expressive emotional through line, a precursor to the nineteenth-century’s great Romantic scores.

A full company of 43 dancers animates the stage throughout the performance, providing spectacular visual counterpoint to the story of a lost wanderer (Maxim Mironov, in complete command as Orpheus), for whom the concept of love (Liv Redpath, as Amour) is poor compensation for love in the flesh (Lisette Oropresa’s Eurydice).



Sundays, March 18 and 25, at 2 pm.

Wednesday, March 21, and Saturday, March 24, at 7:30 pm.

DOROTHY CHANDLER PAVILION, Music Center, 135 North Grand Avenue, downtown Los Angeles.


Top: John Neumeier and Lisette Oropresa rehearsing a scene from the L.A. Opera production of Orpheus and Eurydice.

Below: Scenes from the opera at the Dorothy Chandler Pavilion, with Maxim Mironov among the dancers. All photographs by Ken Howard.






The Malpaso Dance Company will perform in Los Angeles on Saturday as part of the Music Center’s PST: LA/LA program Cuba: Antes/Ahora.

Both the matinee and evening shows will include 24 HORAS Y UN PERRO, choreographed by company founder and artistic director Osnel Delgado, and accompanied by a live set by Arturo O’Farrill and the Afro Latin Jazz Ensemble.

Also on the bill: the world premiere of choreographer Sonya Tayeh’s FACE THE TORRENT, and INDOMITABLE WALTZ, choreographed by Aszure Barton.


Saturday, December 2.

Shows at 2 pm and 7:30 pm.

Dorothy Chandler Pavilion

135 North Grand Avenue, downtown Los Angeles.

Malpaso Dance Company, from top: Esteban Aguilar (foreground left) in Aszure Barton’s Indomitable Waltz, in rehearsal; Manuel Ernesto Duran Calzado, Joan Rodriguez HernandezOsnel Delgado, Maria Karla Araujo Martinez and Dunia Acosta Arias in Delgado’s 24 horas y un perro (24 Hours and a Dog); Delgado (center), in 24 horas; Delgado and Acosta Arias in 24 horas. All 24 horas photographs by Roberto Leon.


Choreographer Boris Eifman has created ballets based on the lives of Anna Karenina, Don Quixote, the dancer Olga Spessivtseva (Red Giselle), Rodin and Camille Claudel. A sort of Russian cousin to Matthew Bourne, the two entrepreneurs share a love of recent history viewed through a pop aesthetic that can shade toward camp, if not kitsch—a tendency that delights their fans if not their critics.

This weekend, as part of their 40th-anniversary North American tour, the Eifman Ballet of St. Petersburg brings a revised TCHAIKOVSKY to the Music Center. For dance audiences, Tchaikovsky’s music is irrevocably tied to several ballets, and in creating his piece, Eifman has avoided making obvious connections. The fact of the composer’s homosexuality has always been suppressed in his native Russia. How much of that tortured history—Tchaikovsky’s and Russia’s—Eifman addresses will be seen onstage at the Dorothy Chandler Pavilion.

TCHAIKOVSKY, Friday and Saturday, June 23 and 24, at 7:30 pm. Sunday, June 25, at 2 pm.

DOROTHY CHANDLER PAVILION, Music Center, downtown Los Angeles.


Boris Eifman.

Boris Eifman is a Russian-Jewish choreographer and the Artistic Director of Eifman Ballet of St. Petersburg. Eifman’s parents were both Ukrainians sent to Siberia during WWII, when Eifman was a young child. He studied choreography at the Leningrad...



The Scottish Ballet heightens the eroticism of Tennessee Williams’ A STREETCAR NAMED DESIRE in a Los Angeles premiere this weekend at the Dorothy Chandler Pavilion.

“Instead of what was once a reflection of a misogynistic society where feminism had no say, choreographer Annabelle Lopez Ochoa, working closely with acclaimed theater director Nancy Meckler, lends a unique female voice to the choreographic process.” — Rachel S. Moore, president and CEO of the Music Center

“Stylistically, [STREETCAR’s] inventive minimalism looks just as good a second time around. The sets are constructed out of packing cases, deftly maneuvered by the dancers to shunt the action from a streetcar to a New Orleans club, to the grimly sparse interior of Stanley’s apartment. Unfussy lighting and costumes provide pitch-perfect period detail as well as the symbolic underpinning of the plot: the bloom of bright red blood on Alan’s shirt, the crimson flowers for the dead, the naked lightbulb under which Blanche flutters.” — Judith Mackrell*


SCOTTISH BALLET—A STREETCAR NAMED DESIRE, Friday and Saturday, May 19 and 20, at 7:30 pm. Sunday, May 21 at 2 pm.

DOROTHY CHANDLER PAVILION, Music Center, downtown Los Angeles



*Judith Mackrell, “Erotic and Tragic Ballet,” The Guardian, April 1, 2015:


Eve Mutso as Blanche DuBois with Andrew Peasgood as Alan in A Streetcar Named Desire
Eve Mutso as Blanche DuBois in A Streetcar Named Desire, directed by Nancy Meckler and choreographed by Annabelle Lopez Ochoa Photograph by Andy Ross Image credit: Scottish Ballet

Eve Mutso as Blanche Du Bois in the original 2012 Scottish Ballet production of A Streetcar Named Desire, directed by Nancy Meckler and choreographed by Annabelle Lopez Ochoa.
Photographs by Andy Ross
Image credit: Scottish Ballet