Sarasota Ballet commemorates the 250th anniversary of the United States this weekend with “Stars and Stripes,” a ballet frequently performed at national events, including presidential inaugurations.
An immigrant who deeply loved the U.S., George Balanchine choreographed “Stars & Stripes” to the music of John Philip Sousa to express his affection for his adoptive country. One of his most spirited and uplifting tributes to America, “Stars & Stripes” features dazzling military-inspired costumes, twirling batons, and exuberant ensemble formations.
Also on program is “’Still Life’ at the Penguin Café,” a cautionary tale about our seeming indifference to the survival of our environment.
There are three performances in the Van Wezel Performing Arts Hall – Friday, March 27 at 7:30 p.m. and Saturday, March 28 at 2 p.m. and 7:30 p.m.
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More on 'Stars and Stripes'
Choreographed as a tribute to his own deep appreciation for the U.S.A., George Balanchine infused classical ballet with American culture and themes to foster a work that transcends his unmistakable musicality and celebrates the greatness of the country that welcomed him upon arrival and commended his work.
Set to the lively marches of John Philip Sousa (arranged by Hershy Kay), the ballet bursts with energy, musicality, and precision.
More on ‘Still Life’ at the Penguin Café’
Choreographed by Sir David Bintley, “‘Still Life’ at the Penguin Café” features the eclectic and wildly original music of Simon Jeffes and his Penguin Café Orchestra.
The point of the ballet is a cautionary tale about our environment at risk and our criminal indifference to its survival, yet it's served up with wit and imagination, without preachiness, as entertainment by the doomed species themselves.
Each threatened animal is brought to life in highly original, witty, and stylish turns—both in movement and costume—making the piece inventive and memorable.
Described as cabaret with a dark underbelly, it blends whimsy and seriousness, tackling urgent environmental themes with humor and imagination.
The choreography draws on ballroom, show, folk, and specifically English Morris dance, enriching the ballet with cultural layers and diverse movement styles.
Bintley draws his audience’s attention to the deliberate pun of “still life,” referencing both the classical painting genre and the hope of “yet living.”
Since its 1988 premiere, the ballet has enjoyed frequent revivals, a testament to its artistic vitality and continued relevance.
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Sponsored in part by the State of Florida through the Division of Arts and Culture.
