Tick, tock. Tick, tock. Sergei Prokofiev’s beautifully eerie time keeping score. Tick, tock. Tick, tock. A row of conical hedges transform with one rotation into metronomes. Tick, tock. Tick, tock. A dancer’s leg strikes twelve, over and over. Tick, tock. Tick, tock. A leg can swing like a pendulum, oscillating back and forth from a central point. A body has become a clock, proving Salvador Dali true: “every portrait can be transformed into living room furniture,”[note]Espace Dali, Monmartre: http://www.daliparis.com/english/dali-designer.html[/note] and thus Mae West’s lips become a sofa on which to sit. The body can become an object and an object can become a body. Time and transformation are the threads that bind this new production of the Australian Ballet’s “Cinderella.” True to the score, Alexei Ratmansky’s choreography coupled with Jérôme Kaplan’s costume and set design revels in this glorious sense of time being measured, and the optical illusion of surrealism whose transformative powers delight in catching you in their illusion, making this fairytale complete.
Ben Davis and Hailana Hills in Alexei Ratmansky's “Cinderella” for the Australian Ballet. Photograph by Jeff Busby
At 82, Twyla Tharp shows no signs of slowing down. She brought two world premieres and an all-star revival to the Joyce this week. The newest dances made it clear that although she’s still a dynamo, aging is very much on her mind. She is exploring wistful terrain these days, but she is doing it with her characteristic humor and high step count.Continue Reading
Dance has always been a part of Tammy Greenwood’s life. Growing up, she studied ballet, tap, jazz, and acrobatics, and when her daughter took up the art form, she became involved through the unwavering—and sometimes self-sacrificing—support that is often asked of a dance mom.FREE ARTICLE