Harper Watters, On his Toes
If ballet and politics were ever a thing, Houston Ballet principal Harper Watters is, perhaps, one of its staunchest advocates.
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Mark Morris's “The Look of Love” begins with praise. Dancers stand in a circle facing inward with clasped hands and chests lifted as Burt Bacharach's “What the World Needs Now” resonates in the theatre. Morris's dance, which was first performed in 2022 and had its New York premiere at the Brooklyn Academy of Music on March 20th, is a celebration of Bacharach's music and his idea of love, which, in spite of minor ups and downs, remains, as the opening song suggests, overwhelmingly “sweet.”
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If ballet and politics were ever a thing, Houston Ballet principal Harper Watters is, perhaps, one of its staunchest advocates.
Continue ReadingIt 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.
Continue ReadingThree 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.
Continue ReadingIn its 92nd season—its second programmed by still relatively new artistic director Tamara Rojo—San Francisco Ballet kept playing with box office strategies.
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