Child's Play
Co. Un Yamada, a dance company and creative collective established in Tokyo in 2002, returned to the New National Theatre Tokyo last week to reprise their popular family-friendly production from 2021, “Obachetta.”
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Beneath 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. Showing at Dancehouse’s Sylvia Staehli Theatre, from 4pm in the afternoons onwards, as part of the launch of Dance (Lens) Mini the audience is invited to duck into the cool, dark reprieve of the theatre at any time and immerse themselves in a three-channel, cine-portrait of six Australian dance legends.[1] As timing has it, this is where I am to begin. As the familiar strains of the “Blue Danube” waltz lilt “let us dance,” Kramer imparts, “it’s been a long journey, but I don’t care about age, that means nothing to me; I’m more concerned about spirit, and the spirit has no age.”
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Co. Un Yamada, a dance company and creative collective established in Tokyo in 2002, returned to the New National Theatre Tokyo last week to reprise their popular family-friendly production from 2021, “Obachetta.”
Continue ReadingVous les voyez, les étoiles dans la salle?” the woman next to me whispered as the lights dimmed. And indeed, the stalls glittered with former stars of the Paris Opéra Ballet— dancers I recognised, visibly moved and deep in conversation during the interval.
Continue ReadingThere is probably no more beloved ballet, by audiences and dancers alike, than “Romeo and Juliet.”
Continue ReadingIn 2017 Virginie Mécène reimagined the lost Martha Graham solo “Ekstatis.” A review from that Martha Graham Dance Company premiere ended with a strong vote of confidence from critic Gia Kourlas: “Ms. Mécène should keep going.”
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