Ronen (Roni, as he likes to be known) Koresh premiered “TikVAH,” his first work back at Philadelphia’s Suzanne Roberts Theatre since 2019. Two years is a long time in a dancer’s short performance life. Tikvah may mean hope in Hebrew, but it comes from a root word that means to bind or to wait for. In celebrating the 30th year of Koresh Dance Company he kept his 10-member troupe and dance school together through the Covid-19 ordeal by keeping them socially distanced yet moving and in dancing shape in their own Rittenhouse Square studio. No one guessed how long they’d have to wait to be able to touch each other again. During last week’s run, a curtain talk took the place of an intermission (no congregating in the lobby permitted.) Someone asked Koresh at what point he allowed his dancers and students to couple and partner again.
Koresh Dance in “Lost” from “TikVAH.” Photograph by Michael Pilla
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continue Reading