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What is War
REVIEWS | Victoria Looseleaf

What is War

The body as vessel; the body as memory container; the body as truth-teller. All of these corporeal permutations were on view at the UCLA Nimoy Theater last Thursday, when Eiko Otake and Wen Hui performed their haunting, elegiac and deeply meaningful work, “What is War.”

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Light on their Feet
REVIEWS | Victoria Looseleaf

Light on their Feet

 It was sensory overload at the Marciano Art Foundation last weekend when six members of LA Dance Project performed side-by-side, around, and, at times, seemingly in tandem, with Doug Aitken’s film, Lightscape.

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Tidal Movements
REVIEWS | Cecilia Whalen

Tidal Movements

Three dancers drip down a wall like paint. Their backs press against the background as they slowly bend their knees, oozing down a blank canvas. This is a scene from John Jasperse's latest work, “Tides,” which had its premiere as part of the La MaMa Moves! Dance Festival April 10-13.

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Box Office Ballet

Box Office Ballet

In its 92nd season—its second programmed by still relatively new artistic director Tamara Rojo—San Francisco Ballet kept playing with box office strategies.

Performance

San Francisco Ballet, “Van Manen: Dutch Grandmaster” and “Broken Love”

Place

War Memorial Opera House, San Francisco, April 5, 17, and 18, 2025

Words

Rachel Howard

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Evolving Dynamism
REVIEWS | Sara Veale

Evolving Dynamism

English National Ballet’s latest mixed bill presents a trio of works from William Forsythe, a dancemaker known for slanting ballet into new gradients, some playful, some confrontational, all of them spirited and agile.

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Motivation for Moving
INTERVIEWS | Lorna Irvine

Motivation for Moving

Petite in stature, with beautiful, delicate features, Scottish dance artist Suzi Cunningham is nonetheless a powerhouse performer: an endless shape shifter whose work ranges from eerie to strange, to poignant, or just absolutely hilarious.

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Aim True
REVIEWS | Victoria Looseleaf

Aim True

With his peerless vocabulary of postmodern abstract moves—or, as he’s called it, “gumbo style,” which blends Black dance with classical ballet techniques—Kyle Abraham, a 2013 MacArthur Genius grant awardee, has been making thought-provoking works for decades.

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The Right Way

The Right Way

Can art save civilization? The question matters deeply to Brenda Way, who has dedicated her life to the arts in San Francisco.

Performance

 ODC/Dance home season gala

Place

Blue Shield of California Theater at YBCA, San Francisco, CA, April 11, 2025

Words

Rachel Howard

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In Good Company
FEATURES | Eoin Fenton

In Good Company

At this year’s Resolution Festival in London, one of the city’s major events of the dance calendar, I found myself in a conversation about the state of affairs of dance internationally.

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Artistic Reintegration
REVIEWS | Faye Arthurs

Artistic Reintegration

While the television show Severance has been exploring the pitfalls of a complete division between people’s work and home lives, Sara Mearns’s recent solo show at New York City Center presented the dangers of the inverse.

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Pig Ghosts and the Irish Renaissance

Pig Ghosts and the Irish Renaissance

Oona Doherty is a choreographer that increasingly needs no introduction. The London-born Belfast native, who worked as a dancer across Europe, roared onto the scene as a choreographer with her...

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The Dancers Have It
REVIEWS | Sophie Bress

The Dancers Have It

In Ballet West’s most recent triple bill, which featured Jiří Kylián’s “Symphony of Psalms,” George Balanchine’s “Apollo,” and Nicolo Fonte’s “The Rite of Spring,” the dancers shone brighter than the choreographers.

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A Moving Prayer
REVIEWS | Karen Hildebrand

A Moving Prayer

In 1982, Bebe Miller made her debut as a dancemaker when Ishmael Houston-Jones invited her into his Parallels series that featured Black choreographers who were experimenting in new forms.

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A Little Treasure
REVIEWS | Lorna Irvine

A Little Treasure

The bubble machine is the first thing that hits you as you enter. There are bubbles everywhere. The second is the energy—families with babies and small children are crammed into every corner, bringing a kinetic force to the auditorium. It's pandemonium—all going off like popcorn in a pan.

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No Gray Areas
REVIEWS | Merilyn Jackson

No Gray Areas

Programming, like staging and choreography, is an art, and Ángel Corella surpassed himself with all three in this early spring show featuring all new works.

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Extreme Feats

Extreme Feats

In some ways, dance could be considered an extreme sport: it meets many of the same criteria, featuring (at times) high speeds, significant risk, and the potential for severe injury....

Performance

Rachid Ouramdane & Ballet Grand Théâtre de Genève: “Outsider” 

Place

Sadler’s Wells, London, United Kingdom, March 25-27, 2025

Words

Emily May

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