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Lucia Field, Family Ties
TALKING POINTES | Claudia Lawson

Lucia Field, Family Ties

Today I have the immense privilege of speaking with Lucia Field. Lucia grew up with her family in Sydney, but with her dad, Anthony, as the original Blue Wiggle. It's not the childhood you might imagine. As the Wiggles became global superstars, Lucia didn't see her dad for nearly nine months a year. Instead, Lucia grew up alongside her mom, her brother, and her sister, dancing and dreaming of becoming a ballerina. And it was not just a dream. Lucia's star was already on the rise. And by 13, she was accepted into the Australian Ballet School. In this exceptionally...

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A Collective Act of Storytelling
REVIEWS | Karen Greenspan

A Collective Act of Storytelling

The story began with an impulse to go back and give something back—to the performing arts traditions of India. Acclaimed British dancer and choreographer of Bangladeshi descent, Akram Khan, long known for dancing between worlds—contemporary dance and classical Kathak, decided to return to his roots.

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Looking Back to See Forward
REVIEWS | Karen Greenspan

Looking Back to See Forward

I step off the elevator onto the 5th floor of the Whitney Museum and I am awed by the spectacle, vastness, and ground shifting power of the “Edges of Ailey” exhibition. This tribute to Alvin Ailey and his universe—past, present, and future—not only lifts up its larger-than-life subject but it also, like a great ocean wave, raises up and carries forward everything in its wake.

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Adrift
REVIEWS | Victoria Looseleaf

Adrift

While Kendrick Lamar performed “Humble,” during his Super Bowl halftime set and was surrounded by dancers clad in red, white and blue—and in the process assumed the formation of the American flag (choreographed by Charm La’Donna)—so, too, did Faye Driscoll use performers who created slews of shapes/sculptures in her astonishing work, “Weathering,” seen at REDCAT on February 8, the last of three sold-out performances.

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Timeless Twyla
REVIEWS | Rachel Howard

Timeless Twyla

Let’s start with the obvious, or maybe to some this notion will be highly disputable, even offensive. OK, then, let’s start with what kept repeating in my head as I walked out of UC Berkeley’s Zellerbach Hall, synapses abuzz with the wonders of Twyla Tharp Dance’s 60th anniversary “Diamond Jubilee” program: My God, Twyla Tharp really is the most brilliantly inventive choreographer now alive on the planet.

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Beyond the Stage
REVIEWS | Karen Hildebrand

Beyond the Stage

In Maldonne, French filmmakers Leila KA and Josselin Carré pose eleven women side by side on a barren stage. They’re dressed in floral patterns that hearken to the 1950s. The camera zooms in to frame their faces—each woman is in a state of distress.

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Riley Lapham, the Come Back
TALKING POINTES | Claudia Lawson

Riley Lapham, the Come Back

Today I have the immense privilege of speaking with Riley Lapham. Riley started dancing early in her home town of Wollongong, and by age 14, she had joined the Australian Ballet School. But from here, Riley's journey takes twists and turns. In her graduation year, Riley missed her final performance due to injury. But in a Center Stage-like moment, the then artistic director David McAllister offered her a contract with the company. In this brave and vulnerable conversation, Riley and I talk about what it's like to join a company while injured, and what it was like to deal with...

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Notes of Black Joy
REVIEWS | Karen Hildebrand

Notes of Black Joy

I can’t remember seeing the Joyce Theater as full of energy. With the hour long “I Am,” Camille A. Brown & Dancers opens the tent of Black joy for all to enter, raising goosebumps and heat on a cold February night.

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Going with the Flow
REVIEWS | Cecilia Whalen

Going with the Flow

Allison Miller, the acclaimed drummer and band leader of the group Boom Tic Boom, presented her multi-media performance, “Rivers in Our Veins,” for a one-matinee-only performance at 92NY on February 2nd.

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Super Nothing
FIELD NOTES | Candice Thompson

Super Nothing

In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.

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