Stars of the International Ballet Stage
As seen at New York City Center, New York. Photographs by Steven Pisano
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How to dance a dance of contrition? Jealousy, slander, hysteria and fear? Helen Pickett's latest, more fleshed-out adaptation of Arthur Miller's classic The Crucible arrives at an interesting time, culturally, when the two most recent successful TV franchises focus on female protagonists: The Handmaid's Tale and Killing Eve (the former focusing on misogyny and oppression, the latter, psychopathy and sexuality). She pulls the audience into the shadow psyche, by framing the Salem witch trials around the affair between servant Abigail Williams (Claire Souet) and affluent, married man John Proctor (Barnaby Rook Bishop) and consequently, the fall-out in their deeply religious Puritan community. This new production comes as part of Scottish Ballet's half-century celebrations.
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Araminta Wraith and company in Scottish Ballet's “The Crucible” by Helen Pickett. Photograph by Jane Hobson
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As seen at New York City Center, New York. Photographs by Steven Pisano
Continue ReadingWhile Kendrick Lamar performed “Humble,” during his Super Bowl halftime set and was surrounded by dancers clad in red, white and blue—and in the process assumed the formation of the American flag (choreographed by Charm La’Donna)—so, too, did Faye Driscoll use performers who created slews of shapes/sculptures in her astonishing work, “Weathering,” seen at REDCAT on February 8, the last of three sold-out performances.
Continue ReadingLet’s start with the obvious, or maybe to some this notion will be highly disputable, even offensive. OK, then, let’s start with what kept repeating in my head as I walked out of UC Berkeley’s Zellerbach Hall, synapses abuzz with the wonders of Twyla Tharp Dance’s 60th anniversary “Diamond Jubilee” program: My God, Twyla Tharp really is the most brilliantly inventive choreographer now alive on the planet.
Continue ReadingIn Maldonne, French filmmakers Leila KA and Josselin Carré pose eleven women side by side on a barren stage. They’re dressed in floral patterns that hearken to the 1950s. The camera zooms in to frame their faces—each woman is in a state of distress.
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