Highlights

“The Washington Ballet awakens with a lavish, triumphant ‘Sleeping Beauty’ one beautifully detailed scene after another, masses of sumptuous costumes and a breakout, starmaking showcase for dazzling new Company member Katherine Barkman. It is every bit the show of refinement it was destined to be.” – Sarah Kaufman, The Washington Post

“This sparkling production, staged with skill and care by the company’s artistic director Julie Kent and her husband, associate artistic director Victor Barbee, proved not only an important milestone in the troupe’s history but also a testament to the Washington Ballet’s growing artistic excellence.” – Oksana Khadarina, DanceTabs.com

“Katherine Barkman’s career reads like a storybook: At 18, she left Pennsylvania and moved to the Philippines to become a principal at Ballet Manila. She danced Juliet, Giselle, Odette/Odile and Kitri, but three years in, it was time for new challenges. Late last year, Barkman joined The Washington Ballet, bringing her scintillating, pure Vaganova technique and her warm stage persona to U.S. audiences.” – Lisa Traiger, Dance Magazine

“Ballet—a centuries-old performance art form—has endured much death and rebirth. And it’s artists like Perez, who can reach the heart of the dance night after night, that can reignite the popularity of ballet.” – Mary Scott Manning, Washington City Paper

“If “The Nutcracker” is the ballet as icon, Kent — tall, sometimes regal, with the halo of legend around her history and career — is the ballerina as icon. If you had to close your eyes and try to picture the most ballerina-like person you could, you’d open your eyes and, more often than not, see Kent in a classic pose, en pointe, not far removed from the fluttering sky, safe on the stage but ready for flight. As a prima ballerina, an artist of classical dance, she is up there among the big names: Suzanne Farrell, Gelsey Kirkland and the like.” – Gary Tischler, The Georgetowner

“There’s buoyancy and wit in each of the works, with a spirit of breezy playfulness in Morris’s; the circusy colors and bold, unexpected corporeal shapes in Cunningham’s; and the swing-era sass of Taylor’s.”- Sarah Kaufman, The Washington Post

“The Washington Ballet’s Contemporary Masters program, which opened Wednesday night at the Harman Center for the Arts and continues through Sunday, is a master class in late 20th Century modern dance works that is both thought-provoking and awfully fun to watch.” – Maria Di Mento, DCTheatreScene.com

“Julie Kent’s office walls are a peak inside her past. They’re covered with the teachers she loved, the dancers who inspired her and the roles she adored. It’s a greek chorus of lovely black and white faces. When I ask her about her inspiration, as at the director of The Washington Ballet and as a dancer, she throws a hand up in the air and gestures to all of them in one fell swoop.” – Kaylee Dugan and Nicholas Karlin, BYT

“I think it’s all about your intention,” Kent says. “The intention of a dancer is to create art, to create beauty. The intention of an athlete is to win a game or win a contest. So, while the preparation and the actual physical body of work may be very similar, the intentions are completely different. We are artists and we are athletes, but we are artists first.” 

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Archive

Under Construction

January 2019

Pointe Magazine: The Washington Ballet’s Nardia Boodoo Mixes Bold Patterns and Bright Color Palettes In and Out of the Studio (January 17, 2019)

December 2018

The New York Times: Joyce Theater’s Spring Season Brings Australians and Cunningham Celebration (December 14, 2018)

November 2018

The Kojo Nnamdi Show: Boys At The Barre: The Joys And Challenges Of Male Ballet Dancers (November 12, 2018)

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