Lifted Spirits
Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
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Backdropped in layers of flowy plastic sheeting, an enormous inflatable nut brown sow dominates the stage. Projected video make it appear uncannilly as if it’s breathing. The sow lies on her side peering out at the audience with a weepy eye. The English expression, in a pig’s eye, often emphatically means Like hell I will or I won’t do it and It seems, at least to me, that’s partly the message choreographer Silvana Cardell and her dramaturg Blanka Zizka want you to come away with. Or, to use another porcine idiom, perhaps we ought not to eat like a pig, or at least don’t kill them, or any other bodies.
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Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
Continue ReadingTalk about Gesamtkunstwerk! Jawole Willa Jo Zollar’s “SCAT!...The Complex Lives of Al & Dot, Dot & Al Zollar,” is just that—a total work of art: operatic in scale, replete with stellar musicians and singers, and the glorious dancers of Urban Bush Women, the troupe that Zollar founded in 1984, is also storytelling at its best.
Continue ReadingOf all of Shakespeare’s plays, “Hamlet” might seem the hardest to adapt into dance. Its long soliloquies and a titular character stymied by indecision do not immediately scream movement potential.
Continue ReadingComplexions Contemporary Ballet turned 30 this year, and their two-week residency at the Joyce Theater was a party.
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