In her final column, Deborah Jones looks at two productions, Giselle and Betroffenheit, available on Marquee TV, dubbed the Netflix of the arts.
Deborah Jones is a writer and critic specialising in dance, with an honours degree in Drama from the University of Newcastle. A former, long-serving Arts Editor of The Australian newspaper, she is currently the paper’s national dance critic. She is also the Sydney correspondent for the London-based Opera magazine and is a regular contributor to The Australian Ballet’s theatre programs. She has previously written several dance features for Limelight.
Articles by Deborah Jones
This week Deborah Jones recommends a group of works from Alvin Ailey American Dance Theater, Cuatro from SDC and SSO, and La Sylphide from Perm Opera and Ballet Theatre.
This week, Deborah Jones immerses herself in Cathy Marston's memorable ballet The Cellist about Jacqueline du Pré, and recommends New York City Ballet in Balanchine's Dream and Akram Khan in Xenos.
This week Deborah Jones enjoys some feel-good dance thanks to ABC Arts iView, including The Australian Ballet's The Merry Widow and Bangarra's Ochres.
This week Deborah Jones settles down with a glass of wine to enjoy Finnish National Ballet's A Midsummer Night's Dream, San Francisco Ballet's Romeo & Juliet, and the Mariinsky's Sleeping Beauty.
This week Deborah Jones explores ADT's digital program ADAPT, the documentary about the making of the RNZB's The Piano – the ballet, and Christopher Wheeldon's The Winter's Tale.
This week, for your digital viewing, Deborah Jones recommends New York City Ballet's Concerto DSCH by Alexei Ratmansky, and Liam Scarlett's Swan Lake.
Deborah Jones explores Alexei Ratmansky's Cinderella created for The Australian Ballet, and also recommends Bangarra's Bennelong among streaming options.
Stanton Welch’s new version of Sylvia puts a welcome spotlight on composer Léo Delibes. As The Australian Ballet prepares to perform it for the first time, we explore the history of the work and its score.
George Balanchine changed the face of Western ballet. We talk to the Bolshoi’s Artistic Director Makhar Vaziev and two of his rising stars about how the world famous company has belatedly embraced the “lost son” of Russian ballet, as they perform Jewels in Brisbane.
On its 10th anniversary tour, the musical reaffirms the huge, loveable heart it has beneath the camp, shiny exterior.
This month, The Australian Ballet celebrates Graeme Murphy’s 50-year association with the company. Deborah Jones looks back on a blazing career, that includes three decades running Sydney Dance Company, and wonders if it all began under his mother’s piano at age four.
Mark Haddon was approached umpteen times for permission to adapt his best-selling novel for the stage. We find out why Simon Stephens’ "heart of flint" made him the perfect fit for the job.