A Tale of Woe
There is probably no more beloved ballet, by audiences and dancers alike, than “Romeo and Juliet.”
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Nijinsky lives! Or at least it seemed that way in a commanding performance by the five dancers of “Bodysuit,” an extraordinary work created by the eternally intriguing Sharon Eyal, purveyor of Gaga, and British artist Georgy Rouy, with Eyal’s husband, Gai Behar, credited as co-creator. Seen in its American premiere at Hauser & Wirth Downtown Los Angeles on Saturday—the last of three sold-out performances—the 45-minute piece packed a visceral punch, and was analogous to what Wagner once termed Gesamtkunstwerk, a total work of art. (The piece had its world premiere in London last month, and was commissioned by Hannah Barry Gallery and co-produced with Hauser & Wirth.)
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There is probably no more beloved ballet, by audiences and dancers alike, than “Romeo and Juliet.”
Continue ReadingIn 2017 Virginie Mécène reimagined the lost Martha Graham solo “Ekstatis.” A review from that Martha Graham Dance Company premiere ended with a strong vote of confidence from critic Gia Kourlas: “Ms. Mécène should keep going.”
Continue ReadingOn one of the first spring-like days this year in NYC, I arrive at Barnard College to observe rehearsal for John Jasperse’s new piece, “Tides,” which will open the LaMama Moves! Dance Festival on April 10.
Continue ReadingBooks are banned, DEI scuttled, and Africanist studies scaled back. Yet, the irrepressible spirit of African American artists is not extinguished.
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