Tag Archives: Glorya Kaufman Presents Dance at the Music Center


This weekend at the Music Center, choreographer Wayne McGregor, composer and conductor Thomas Adès, artist Tacita Dean, the Royal Ballet, and the Los Angeles Philharmonic present two world premieres, preceded by a work—OUTLIER—new to West Coast audiences.

LIVING ARCHIVE: AN AI PERFORMANCE EXPERIMENT—danced by Company Wayne McGregor—is a first look at the results of McGregor’s collaboration with Google’s Arts and Culture Lab to develop a choreographic tool that generates new outcomes for works in McGregor’s repertoire. This iteration of LIVING ARCHIVE will be danced to Adès’ In Seven Days, performed by the LA Phil.

The evening will close with the dance world premiere of Part One of McGregor’s full-evening work THE DANTE PROJECT. Set to Adès’ new eponymous composition, INFERNO will be performed by the Royal Ballet, and features a set designed by Tacita Dean—her first work for dancers and the stage—and lighting design by Lucy Carter and Simon Bennison.



Friday and Saturday, July 12 and 13, at 7:30 pm.

Dorothy Chandler Pavilion

135 North Grand Avenue, downtown Los Angeles.

From top: Wayne McGregor, The Dante Project (Inferno), featuring Royal Ballet dancers Fumi Kaneko and Edward Watson; Watson and company; Calvin Richardson; artists of the Royal Ballet. Wayne McGregor, Living Archive, featuring Company Wayne McGregor dancers Izzac Carroll, Maria Daniela Gonzalez, and Jordan James Bridge; Chien-Shun Liao; Carroll; Rebecca Bassett-Graham and Carroll. Wayne McGregor, Outlier, artists of Company Wayne McGregor; Lauren Cuthbertson, Jacob O’Connell, and Joshua Barwick; Gonzalez, O’Connell, and Bassett-Graham. Photographs by Cheryl Mann, July 12, 2019, Dorothy Chandler Pavilion, Los Angeles. Images courtesy and © Wayne McGregor, Tacita Dean, the Royal Ballet, the Music Center, the photographer, and the performers.


Forty years after its American premiere at the Shrine Auditorium, Kenneth MacMillan’s MAYERLING—a tour de force of choreographic virtuosity and innovation, and the first full-length ballet constructed around a male lead—returns to Los Angeles for a three-performance engagement by the Royal Ballet at the Dorothy Chandler Pavilion.

MAYERLING tells the story of Crown Prince Rudolf (1858–1859)—heir apparent to the throne of Austria-Hungary—his mistress Mary Vetsera, and the events leading up to their murder-suicide at Mayerling, the prince’s hunting lodge outside Vienna.

“Most of MacMillan’s ballets, descriptive or abstract, tackle themes of crisis and violence… The dramatic momentum of MAYERLING springs from a chilly dissection of both… The fast-moving scenario is exactly matched by the ferocious pace and energy of MacMillan’s choreography. The action revolves around the startling progression of duets for the two principal dancers: abrasive, threatening, erotic and geared almost without respite to destruction.

“MacMillan projects the dark underside of romanticism: the ballet has domestic interludes of great charm but they’re brief, the dominant mood is acrid, sour, and glitteringly dark.” — Bryan Robertson, The Spectator, February 25, 1978

As Robertson points out, MAYERLING is famous for its numerous pas de deux and requirements of great stamina and artistry by its male leads. On opening night, Royal Ballet principal Ryoichi Hirano will dance the role of Rudolf. On Saturday night principal Matthew Ball takes over, and for the Sunday matinee, principal Thiago Soares is the Crown Prince. Principal Sarah Lamb dances the role of Marie Larisch on opening night and Mary Vetsera on Saturday night.

MacMillan—a former dancer who was the Royal Ballet’s artistic director throughout most of the 1970s and its principal choreographer from 1977 onward—died in 1992 at age 62, backstage at the Royal Opera House, Covent Garden, during a performance of a revival of MAYERLING.


Friday and Saturday, July 5 and 6, at 7:30 pm.

Sunday, July 7, at 2 pm.

Dorothy Chandler Pavilion

135 North Grand Avenue, downtown Los Angeles.


From top: Ryoichi Hirano as Crown Prince Rudolf and Sarah Lamb as Marie Larisch in Mayerling, photograph by Helen Maybanks; Francesca Hayward as Princess Stephanie and Hirano, photograph by Maybanks; Lamb as Mary Vetsera, photograph by Alice Pennefather; Alexander Campbell as Bratfisch, the prince’s confident, photograph by Maybanks; Lauren Cuthbertson as Mary and Thiago Soares as Rudolf (3), photographs by Maybanks. Images courtesy and © the photographers, the performers, and the Royal Ballet.


The opening engagement of the 2018–2019 season of Glorya Kaufman Presents Dance at The Music Center is here with COMPANY WAYNE MCGREGOR—AUTOBIOGRAPHY, at the Ahmanson for two nights and a matinee.

Three discrete presentations, three distinct experiences—McGregor’s dance abstract of his life in twenty-three scenes is rearranged for each performance, selected by a computer algorithm based on the sequencing of McGregor’s genome.

In its Los Angeles premiere this weekend, the dancers of AUTOBIOGRAPHY will be joined onstage by Jlin in a live performance of her commissioned score.


Friday and Saturday, October 5 and 6, at 7:30 pm.

Sunday, October 7, at 2 pm.

Ahmanson Theatre, 135 North Grand Avenue, downtown Los Angeles.

Company Wayne McGregor, Autobiography in performance. Photographs by Ben Cullen Williams, Richard Davies, and Andrej Uspenski. Image credit: Wayne McGregor.


“Until the lions have their own historians, the history of the hunt will always glorify the hunter.” — African proverb

The great dancer and choreographer Akram Khan will pay a rare visit to Los Angeles this week for a four-night run of his full-length piece UNTIL THE LIONS.

Based on a section of the Mahabharata, UNTIL THE LIONS tells the tale of Princess Amba (Ching-Ying Chien): her thwarted marriage, her revenge against Prince Bheeshma (Khan), and her transformation into the warrior Shikhandi (Joy Alpuerto Ritter).

The original music score is by Vincenzo Lamagna, in collaboration with singer Sohini Alam, David Azurza, percussionist Yaron Engler, Ritter, and Khan. This Glorya Kaufman Presents Dance at The Music Center event takes place, in the round, at The Culver Studios.


UNTIL THE LIONS, Wednesday through Saturday, October 18–21, at 8 pm.

THE CULVER STUDIOS, 9336 Washington Boulevard, Culver City.



From top:

Ching-Ying Chien and Akram Khan in rehearsal, Until the Lions.

Musicians for Until the Lions include Yaron Engler (left), and Sohini Alam, Joseph Ashwin, and David Azurza.

Bottom three: Ching-Ying Chien. All photographs © Jean-Louis Fernandez.

© Jean-Louis Fernandez


© Jean-Louis Fernandez


© Jean-Louis Fernandez


© Jean-Louis Fernandez


© Jean-Louis Fernandez







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