Dance Prism's Adaptation of Make Way for Ducklings at Mechanics Hall
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The last date listed for Make Way for Ducklings was Sunday April 20, 2008 / 2:30pm.
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Russian pianist Ilya Yakushev joins conductor William Boughton and the New Haven Symphony Orchestra for an evening of Rachmaninov Fantastique. On the program will be two of classical music's most popular pieces. Rachmaninoff Piano Concerto No. 2 combines musical subtlety with piano pyrotechnics, and has been frequently used in film scores. Symphonie Fantastique was fueled by Berlioz's obsession with an Irish actress and hurtles from moments of tenderness to tantrums, from visions of suicide to ecstasy. There's a pre-concert lecture one hour before the show. Learn More
Quotes & Highlights
Complimentary reception to meet the characters follows the performance.
Originally an award-winning children’s story, Robert McCloskey’s work has become a New England icon. Dance Prism’s adaptation of the story for children (and nostalgic adults) traces the now-familiar journey of Mr. and Mrs. Mallard and their family of ducklings from their quiet nest on the Charles River to their new home in the Boston Public Garden. Guided by Michael the Policeman, the Mallard family proudly braves the challenges of the city and its diverse but kindly residents.
McCloskey’s illustrations inspire a lively population of 1940s-era characters to complement the fabled little ducklings and their attentive parents. The Public Garden scene even includes a proud flock of tango-dancing swans.
Dance Prism set the work to the buoyant music of Leroy Anderson, long Arthur Fiedler’s composer of choice for Boston Pops encores. Anderson’s blaring trumpets and pizzicato strings evoke the spirit of the jazz-loving 1940s, while his more contemplative pieces recollect a wartime era of bittersweet loves and losses, a time when extraordinary events made the kindness of strangers commonplace. Even as the ballet depicts for children a joyful story of familial affection and daring, its human characters reflect the broader dimensions of Anderson’s music.