The Washington Ballet Presents "Director's Cut" (February 24–28)

The John F. Kennedy Center for the Performing Arts

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$72.80 41% $29.80
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In a Nutshell

Three choreographers redraw the boundaries of ballet with a trio of works set to jazz, electronic music, and a live rendition of Bach

The Fine Print

Expiration varies. Limit 8/person. Valid only for option purchased. Present ID on day of event for a ticket at venue box office. Refundable only on day of purchase. Must purchase together to sit together. Discount reflects merchant's current ticket prices, which may change. For specific ADA needs, contact Ticket value includes all fees. Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.

The Deal

  • Available dates/showtimes: February 24 at 7:30 p.m. | February 26 at 7:30 p.m. | February 27 at 1:30 p.m. | February 28 at 7:30 p.m.
  • $37–$43 for one ticket for orchestra or balcony seating
  • Ticket prices and values vary depending on the date and showtime you select
  • Click here to view the seating chart

Director’s Cut

Director’s Cut demonstrates just how daring the world of ballet can be—even in the rarified atmosphere of the Kennedy Center—with three inventive works from a trio of boundary-pushing choreographers.

  • In the Middle, Somewhat Elevated: the legendary Rudolph Nureyev commissioned this piece for the Paris Opera Ballet in 1987. Ballet hasn’t been the same since. Hailed as an instant classic upon its premiere, William Forsythe’s visceral choreography still thrills, with shifting symmetries that feel as off-balance as Thom Willems’ shuddering electronic score. The Guardian perhaps best explains why the piece is so influential: “Balletic formality is jettisoned in favour of a wild, off‑kilter theatricality that rethought conventions even as it held them up to the sharp, bright light.”
  • PRISM: a completely improvised jazz piano score—Keith Jarrett’s “The Köln Concert,” to be precise—serves as the base and inspiration for Annabelle Lopez Ochoa’s kaleidoscopic choreography in this 2014 commission for the Washington Ballet.
  • State of Wonder: Septime Webre plays off of Bach’s Goldberg Variations with a few variations of his own, choreographing 32 “translations” that reflect the intricacy and energy of Bach’s music. Pianist Ryo Yanagitani will be playing each piece live.

Photos: The Washington Ballet by Dean Alexander

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