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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The porous borders of Rafael Bonachela’s “I Am-Ness,” Marina Mascarell’s “The Shell, A Ghost, The Host & The Lyrebird,” and Antony Hamilton’s “Forever & Ever,” when viewed as a collective, make a visionary trance, as Sydney Dance Company’s triple bill “Ascent” inhabits the stage at the Playhouse, Arts Centre Melbourne. Commissioned by and having premiered at the Canberra Theatre Centre at the beginning of the year, followed by Sydney Opera House, and a national tour, the invitation to weave together three strands and construct a whole, should you choose, is now extended to Melbourne audiences.
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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.
Continue ReadingIn 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. French choreographer Rachid Ouramdane seeks to reinforce this parallel in his new work “Outsider,” which received its UK premiere at Sadler’s Wells on March 26th as part of Dance Reflections by Van Cleef & Arpels.
Continue ReadingHave they started or are they just practicing?” asks a gentleman sitting in the row behind me. It’s a fair question: students from Rambert School of Ballet nonchalantly execute their own sequences of repeated movements as the audience filters in, taking their seats on all four sides of the vast performance space.
Continue ReadingIn a career spanning almost 30 years, American dancer-choreographer Trajal Harrell has created a body of work borne of a rich imagination and an enquiring mind.
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