Films and Showtimes
- Moxie Mornings
- Big Trouble in Little China (1986)
- M (1931)
- The Lost City of Z
- On Stage: Il trovatore
- The Rules of the Game (1939)
- 50/50: Rethinking the Past, Present & Future of Women & Power
- Rashomon (1950)
- Swing Time (1936)
- Toni Erdmann
- The Seventh Seal (1957)
- Singing in the Rain @ Mother's Brewery
- The Lovers
- On Stage: The Bolshoi: A Contemporary Evening
- L'Avventura (1960)
- On Stage: Twelfth Night
- The Secret of NIMH (1982)
- Clue @ Mother's Brewery
- Fargo @ Mother's Brewery
- Napoleon Dynamite @ MOTHER'S BREWERY
- Thelma & Louise @ MOTHER'S BREWERY
On Stage: Swan Lake
- Starring: Étoiles, Premiers Danseurs and Corps de Ballet
- Composer: Pyotr Illyich Tchaikovsky
- Choreographer: Rudolf Nureyev
- Conductor: Vello Pähn
- Genre(s): Performing Arts, Drama, Dance
- Rating: NR
- Filmed at the Opera Bastille in Paris, France on Dec. 8th 2016
- Running Time: 2 hours and 35 minutes with 1 interval
The Moxie: On Stage is a new series showcasing world class performances from stages across the globe.
Tickets: $20/adults; $15/members & students
This series is made possible thanks to a grant from the Springfield Regional Arts Council.
Production Information: Drawing on ancient Slavic and Norse mythology where destiny is often born out of the mysterious forces of nature, Swan Lake has become a legend in its own right. Tchaikovsky’s first ballet score is imbued with a deep sense of nostalgia, echoing the composer’s own experience of love as elusive as it was impossible.
However, the work remained misunderstood until 1895 when Marius Petipa undertook his own choreographic interpretation. With the help of Lev Ivanov, Petipa created majestic figures for the female corps de ballet and breathed life into the swan‑dancer.
In Rudolf Nureyev’s “Freudian” version, conceived for the Paris Opera Ballet in 1984, Prince Siegfried, manipulated by the evil Rothbart, shuns the realities of power and marriage to take refuge in dreams where a magic lake symbolizing idealized love appears to him. Nureyev elevated the role of the prince to that of the heroine by giving him a deeper psychological dimension whilst opting to give this masterly action ballet a tragic denouement more in tune with its musical substance.