From Street to Stage
Hubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
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Alina Cojocaru’s technical fluency and stirring artistry have propelled her to starred ranks at both the Royal Ballet and English National Ballet. The Romanian luminary’s new self-assembled programme at Sadler’s Wells highlights this eloquence, taking a look at the many languages of ballet she’s perfected in her two decades on stage, from soft classical displays to exuberant contemporary tangles. Interestingly, there are no glimpses of Giselle or Aurora or the other marquee roles Cojocaru has built her name on; instead it’s mostly short pieces created on her in recent years, topped off with Frederick Ashton’s one-act “Marguerite and Armand”—a Royal Ballet mainstay, though not one she herself ever danced with the company.
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Alina Cojocaru and Johan Kobborg in “Reminiscence” by Tim Rushton. Photograph by Andrej Uspenski
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Hubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
Continue ReadingThe legendary Cuban dancer Carlos Acosta trained relentlessly to come out of retirement last year for a performance of classical works in celebration of his 50th birthday at the Royal Ballet, where he spent most of his professional career.
FREE ARTICLEThe Dance Theater of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past.
Continue ReadingDespite the fact that dance and music are often regarded as inextricably linked, it remains astonishing to experience the work of a choreographer who channels the score particularly well—or a group of dancers who embody it especially organically. Repertory Dance Theatre’s 58th season closer, “Gamut,” happened to have both.
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