For this issue, I am pleased to introduce guest contributor Cyd Miller Everett, treasurer of the Women’s Committee of the Washington Ballet. She is on the left in the photo, with the choreographer Edward Liang and the author and journalist Gail Scott. She writes about Liang’s “Wunderland,” the concluding program of the Washington Ballet’s season:
The work by the former New York City Ballet soloist was stunningly sensuous and compelling, and the audience loved it.
Dedication to the ballet has been Liang’s life. He took his first ballet lessons at age five, after his family arrived in the United States from Taiwan. At the New York City Ballet, he became the principal soloist. He has since made the transition from this envied role to choreography and is now creating ballet instead of dancing it. He has seen his efforts rewarded at all stages, garnering numerous honors.
We at the Washington Ballet hope that during the upcoming season we will be presenting more of his avant-garde excitement, done within the classic confines of the ballet form.
Liang illustrates an important aim of the Washington Ballet: to showcase new choreographers without neglecting classic works. This journey to find the right combination and balance of programs is both exciting and enriching. Under Artistic Director Septime Webre, an innovative choreographer himself, the ensemble continues to amaze and delight the ballet world while winning a new generation of fans.
The work by the former New York City Ballet soloist was stunningly sensuous and compelling, and the audience loved it.
Dedication to the ballet has been Liang’s life. He took his first ballet lessons at age five, after his family arrived in the United States from Taiwan. At the New York City Ballet, he became the principal soloist. He has since made the transition from this envied role to choreography and is now creating ballet instead of dancing it. He has seen his efforts rewarded at all stages, garnering numerous honors.
We at the Washington Ballet hope that during the upcoming season we will be presenting more of his avant-garde excitement, done within the classic confines of the ballet form.
Liang illustrates an important aim of the Washington Ballet: to showcase new choreographers without neglecting classic works. This journey to find the right combination and balance of programs is both exciting and enriching. Under Artistic Director Septime Webre, an innovative choreographer himself, the ensemble continues to amaze and delight the ballet world while winning a new generation of fans.
