We All Fall Down
To fell a tree, after determining the fall path, you need to make a notch in the side of the trunk with your chainsaw.
FREE ARTICLEWorld-class review of ballet and dance.
As “’lectric Eye” opens, a group of 14 bursts onstage, stepping in formation as runway fashion model swagger meets drill team precision. They criss cross the stage, arms swinging, hips gyrating, assorted gold and coppery mylar apparel flashing. It’s sexy, glitzy and mind-boggling in its intricate unison. As a group they step, turn, lunge, plié, kick, dip, relevé—constantly changing direction to a droning disco beat punctuated by the sound of drumsticks. Sound and movement are equal partners in choreographer Joanna Kotze’s work, and for “’lectric Eye,” musical collaborator, Ryan Seaton, emerges from the sound booth to perform a fully integrated role onstage. He plays his original electronic music, he sings, and while the drill team does its thing, he jumps rope. For a very long time.
Performance
Place
Words
Joanna Kotze's “'Lectric Eye.” Photograph by Maria Baranova
“Uncommonly intelligent, substantial coverage.”
Already a paid subscriber? Login
To fell a tree, after determining the fall path, you need to make a notch in the side of the trunk with your chainsaw.
FREE ARTICLEParis Opera Ballet presented an all-Robbins program at the Garnier from October 24 to November 10: “En Sol,” “In the Night,” and “The Concert,” all works Jerome Robbins made for New York City Ballet.
Continue ReadingThis week at the Joyce, the Van Cleef & Arpels Dance Reflections Festival presented its starriest program yet: “Dancing with Glass: The Piano Etudes.”
Continue ReadingWatching George Balanchine’s “The Nutcracker” the other night at New York City Ballet, I was struck, once again, by the sense of balance it both portrays and embodies.
Continue Reading
comments