There's too much of it around — on television, on the stage, and at home.
The reflecting glass casts shards of lights across the stage and at the audience.
That is because men, in the foundation stage and at key stage 1, are virtually non-existent.
There is a painting of a drummer at the back of the stage, and at the far right a further painting of a huge, profiled head.
I was doing a duet with another guy on stage, and at one point I just looked at him and I had no idea what was coming next.
He was wheeled in on a trolley to a chair on the stage and at the end remounted the trolley with difficulty.
In the pas de deux from "Le Corsaire," Herman Cornejo bursts onto the City Center stage and at once makes it look too small for him.
A shimmering net hangs over the stage and at one point encloses a couple who spin in each other's arms like rolling waves.
Taking three steps and then pausing, he cut a jagged path on the stage and at times covered his ears with his forearms.
The highlight: Yelle's drummers did a lot more than just keep the beat -- they danced in unison on stage and at one point Budet even had them tweaking together.
Black and white images of the six legends are lined up at the back of the stage, and at key moments we're alerted to their presence by directional spotlights, archive recordings and Baras's own gestures of obeisance.
