Eye Candy
’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
FREE ARTICLEWorld-class review of ballet and dance.
There is packaging, topicality, grand themes, elaborate stage designs, high concepts. And then there are moments when the flesh and blood power of dance itself—the presence of a lone body channeling transcendent purpose—leaves you reeling. Such a moment came when Cristina Hall rose from her chair in La Tania Baile Flamenco’s “Solaz” at San Francisco’s Presidio Theatre.
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’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
FREE ARTICLELike two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Continue Reading“I can’t even stand it,” exclaimed Tina Finkelman Berkett about the Perenchio Foundation grant that her dance troupe, BodyTraffic, recently received.
Continue ReadingBeneath a tree also over a century old is where I meet dancer and artist Eileen Kramer, and where the 60-minute loop will end. And it feels fitting, on the heels of her recent death on November 15, 2024, at 110-years-of-age, to start here, at effectively the end of Sue Healey’s screening of On View: Icons.
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