Sound and Body Waves
Whether bending backwards as if channeling Paul Chavez’ otherworldly sounding music, or crouching down ever so slowly and quasi-teetering on the floor, dancer Roxanne Steinberg proved a master of the body.
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On opening night of the world premiere of Christopher Wheeldon’s “Oscar” at the Australian Ballet’s new home for the next three years, the Regent Theatre (as the State Theatre undergoes renovations), I am catapulted from September 13, 2024 to April 26, 1885, and the commencement of the trial of Oscar Wilde. “Now as the jury files back into court,” narrates Seán O’Shea, “Oscar leaned over the dock, eagerly scanning the faces of the twelve good men and true, seemingly trying to read in their physiognomies his fate; no-one spoke, no-one hardly dared to breathe.” In the thick of it, we begin, and the effect is a kaleidoscopic tornedo. In the moment before the rise becomes the fall, “Oscar” teeters, and the effect is hypnotic, from start to finish.
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Whether bending backwards as if channeling Paul Chavez’ otherworldly sounding music, or crouching down ever so slowly and quasi-teetering on the floor, dancer Roxanne Steinberg proved a master of the body.
Continue ReadingOn opening night of the world premiere of Christopher Wheeldon’s “Oscar” at the Australian Ballet’s new home for the next three years, the Regent Theatre (as the State Theatre undergoes renovations), I am catapulted from September 13, 2024 to April 26, 1885, and the commencement of the trial of Oscar Wilde.
Continue ReadingHaving a dance company is always difficult. But founding a troupe and keeping it going for 25 years is even more challenging. Add to that the political, cultural and economic landscape of South Africa, and the odds might seem unsurmountable.
Continue ReadingNew York City Ballet concluded its 75th anniversary year with its traditional summer residency upstate at the amphitheater of Saratoga Springs’s Performing Arts Center (SPAC).
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