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.
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Has any choreographer extracted as much value from the chug step as Mark Morris? Jerome Robbins came close in “Glass Pieces,” and George Balanchine gave chugs some big moments in “Apollo,” but Morris consistently uses the simple move to demonstrate a profound musicality. Chugs are inherently galumphing, but Morris wields them like a baroque architect. It’s as if he paints cathedrals with thick toddler crayons. Though it must be said, he pulls off the same trick with basic walking, running, skipping, etc. During week two of the Mark Morris Dance Group’s run at the Joyce (their first stint ever at the theater: how is that possible?), his ability to erect the sacred from the mundane was on wondrous display.
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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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