Nederlands Dans Theater

In the hands of the Prague-born Jirí Kylián, Europe's preeminent choreographer, ballet swirls with buoyant, modern expressiveness. His works are revered for their intricate partnering, whirlwind propulsion, and exhilarating sense of newness. More than 40 companies worldwide dance Kylián's shimmeringly beautiful works, but it is this sleek Dutch company, based in The Hague, for which he has created 74 ballets in the past three decades. NDT's 32 dancers perform more gems of the Kylián canon in this sequel to the extraordinary Northrop debut in 2000.

About the Company

The Nederlands Dans Theater was created in 1959 by a group of 18 former members of Ballet of the Netherlands who broke away from the traditionally-oriented company. With Benjamin Harkarvy (ballet master and artistic director) and Carel Birnie (managing director) the new group was dedicated to the exploration of new dance techniques, ideas, and experimentation. Kylián was appointed artistic director at the age of 18, following the leave of Harkarvy and Hans van Manen. At such a young age Kylián rose to the occasion, shouldering enormous
responsibilities and over the years creating dozens of works for NDT. Kylián's determination, not only as a choreographer but also as an artist, has stimulated enthusiasm and loyalty from everyone associated with the organization.

Critic's Comments

"Kylián's choreography alternates between long-held, slowly unfolding balances and staccato bursts of blinding speed. His dancers handle both with awesome precision."

- Newsday

"The best selection of dancers in the world."

- The Gazette, Montreal

Evening's Program

Three new works by Europe's esteemed choreographerJirí Kylián —

Claude Pascal (2002), which takes a dark, figuratively and literally mirrored look at dancers' movements

Last Touch (2003), set to a new composition by Dirk Haubrich with the thoroughly comtemporary NDT dancers in proper Victorian attire

27'52" (2002), beginning as an amusing and whimsical piece for three couples and concluding as a gripping duet symbolizing loss, its text borrowing from the Dali Lama and Baudelaire among others (partial nudity)

Performances at Northrop

2000 and 2004