The Eifman Ballet of St. Petersburg at the Orange County Performing Arts Center
* Additional fees apply.
All offers for The Eifman Ballet have expired.
The last date listed for The Eifman Ballet was Saturday March 17, 2007 / 2:00pm (The Seagull).
Currently at Segerstrom Center for the Arts, Segerstrom Hall:
- Full Price:
- $30.00 - $80.00
- Our Price:
- $15.00 - $40.00
Patrick Swayze and Demi Moore reached across death's divide with the strength of their love -- and the help of a storefront psychic -- in the Oscar-winning film Ghost. Now Ghost the Musical, adapted for the Broadway stage by the Academy Award-winning writer of the film, relives all the memorable magic of that tragic, supernatural romance. This production of the enduring love story also boasts the addition of an original pop score written by multiple Grammy winners Dave Stewart of the Eurythmics and Glen Ballard, co-writer of Alanis Morissette's Jagged Little Pill. Learn More
Reviews & Ratings
March 14-15, 2007
Choreography by Boris Eifman
Music by Pyotr Illyich Tchaikovsky
After the novel by Leo Tolstoy
March 16, 2007
Choreography by Boris Eifman
Music by Sergei Rachmaninoff
After the play by Anton Chekhov
Russia’s extraordinary Eifman Ballet of St. Petersburg returns to the Orange County Performing Arts Center for an exclusive engagement to perform the company’s powerful interpretations of classic 19th century Russian literary works. Anna Karenina is based on_ _Leo Tolstoy’s 1877 novel and The Seagull is inspired by Anton Chekhov’s play written in 1895.
Eifman’s choreographic rendition of Tolstoy’s work explores women’s dependency on sexual relationships. He describes the heroine as a werewolf. “Two confrontational human beings co-existed in her,” he explains. “Anna belonged to high society, yet she was a woman deeply plunged into the world of stormy passions, unknown even to Dostoyevsky’s characters.” The Chicago Sun-Times wrote, “It makes perfect sense that Eifman has turned to this story – the tale of a beautiful married woman who falls in love with the dashing army officer Count Vronsky, and whose husband, that status-conscious Karenin, ultimately uses their young son as a pawn in the marital breakup. After all, long based in St. Petersburg, Eifman knows the book’s literal and metaphorical geography like the back of his hand.” The Chicago Tribune review noted, “What initially appears as anguished melodrama grows into a fervent dialogue between bodies unable to contain their passions.”
Eifman has retained the main philosophical ideas on art that imbue Chekhov’s The Seagull, but moved the action from a country estate to a ballet studio, where the fashionable choreographer Trigorin clashes with the daring innovator Treplev and the young dancer Zarechnaya competes with prima ballerina Arkadina. The issues of the development of art, the search for new forms, true and deceptive values, love and career are expressed with particular sharpness in this production. The four leads and their individual fates—creative and personal—have taken on an emotional embodiment in movement that expresses Eifman’s view of the Chekhov work.