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Allegra Kent
- Arthur Mitchell and Allegra Kent of New York City Ballet performing George Balanchine’s “Agon” in 1962.
www.nytimes.com › 2018/09/25 › arts
Sep 25, 2018 · The most unusual part of “Agon” is the pas de deux, originally choreographed for Arthur and Diana Adams, a black man and a white woman; the man doesn’t just support the woman, he dances...
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The ballerina Allegra Kent, who partnered Mitchell in Agon during an NYCB tour of the Soviet Union in 1962, recalled how “the audience went wild” during their performance. She said: “Arthur was a superb partner. His musicality and stagecraft enhanced the choreography and made his partner look great.”
Sep 24, 2018 · The ballerina Allegra Kent, who partnered Mitchell in Agon during an NYCB tour of the Soviet Union in 1962, recalled how “the audience went wild” during their performance.
Oct 4, 2017 · Mitchell, 83, sat onstage throughout, giving fascinating commentary on each work. For instance, Balanchine’s choice to pair Mitchell with Diana Adams, a white woman, in Agon was intentional. “My skin color against hers, it became part of the choreography,” Mitchell said.
Sep 21, 2018 · In addition to casting Mitchell in “Agon,” Balanchine featured him as a nimble-footed Puck in the City Ballet’s 1962 performance of “A Midsummer Night’s Dream.”
- Brigit Katz
He was promoted to principal dancer with the company in 1962, and George Balanchine created several roles for him, notably those in Agon (1957) and A Midsummer Night’s Dream (1962). Mitchell was sensitive to the prejudice against Blacks in the world of ballet and determined to form an all-Black ballet company.
Mitchell dances one of the principal male roles, partnering Melissa Hayden, and John Jones, an African-American guest artist, the other, partnering Diana Adams. In later performances Jones was replaced by an NYCB dancer. Ivesiana (George Balanchine), New York City Ballet, March 16, 1961 (revival).