All – Tagged "INTERVIEWS"

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Writing the Book on Buddy Bradley

Near the end of her illuminating book on choreographer Buddy Bradley, Maureen Footer discusses Bradley’s work on Cecil Landau’s revue “Sauce Tartare.”

INTERVIEWS | Rachel Howard

Crossing the Cultural Divide

Growing up in British Columbia’s Okanagan region with two mothers, the Canadian choreographer Cameron Fraser-Monroe learned about the European side of his heritage, participating in Ukrainian folk dance from age six.

INTERVIEWS | Eoin Fenton

Stepping on the Right Path

“We are in a shambles.” This is the headline statement for Catherine Young’s touring work “Ciseach | An Embodied Manifesto” which will make its way through Ireland at a time when it is perhaps needed most.

INTERVIEWS | Rachel Howard

Ballet in the City with Joshua Beamish

Perhaps best known for touring with New York City Ballet associate artistic director Wendy Whelan in her show “Restless Creature,” Joshua Beamish grew up dancing in his Canadian hometown of Kelowna, British Columbia, founding his own company when he was just 17.

INTERVIEWS | Eoin Fenton

Meryl Tankard, Staying Connected

Meryl Tankard is somewhat of an Aussie dance legend. A choreographer of international renown, her works have been mounted and premiered on prestigious companies ranging from Royal Ballet of Flanders and NDT III in Europe, to the Australian Ballet and Sydney Dance Company in her homeland.

INTERVIEWS | Victoria Looseleaf

In her Stride, Alicia Graf Mack

Once referred to as the “Rolls-Royce of American dance,” Alvin Ailey American Dance Theater, founded in 1958 by Alvin Ailey, continues to live up to that plaudit.

INTERVIEWS | Eoin Fenton

Dancing the Body Politic

Ranjini Nair wears a few hats. Trained as a classical dancer in her native New Delhi by gurus Seetha Nagajothy, Jayarama Rao, and Vanashree Rao, she later found herself deep within the world of academia.

INTERVIEWS | Eoin Fenton

Returning to Troy

Only three years after its premiere at Cork’s Midsummer Festival, Philip Connaughton finds his work of epic proportions, “Trojans,” in the hands of Luail.

INTERVIEWS | Victoria Looseleaf

Josie Walsh, Seeing Red

Possibly one of Los Angeles’ best kept terpsichorean secrets, artistic director, choreographer, and teacher Josie Walsh has decidedly forged a path unlike any other.

INTERVIEWS | Eoin Fenton

Bringing Timelines to Light

British choreographer Jaivant Patel has intersectionality at his core. He trained at the Northern School for Contemporary Dance and then went on to learn from Nahid Siddiqui, a global exponent of Kathak.

INTERVIEWS | Victoria Looseleaf

Hervé Koubi: Dance and Defiance

With their inimitable blend of contemporary movement and the no-holds barred athleticism of hip-hop and the meticulousness of martial arts, Compagnie Hervé Koubi creates a visual language unlike any other.

INTERVIEWS | Lorna Irvine

Forty Years and No Slowing Down

From its first steps in 1986 as Dundee Rep Dance Company with at the helm, to the present day, Scottish Dance Theatre has sealed it's reputation as a forward-thinking company who pushes the limits of what dance can do.

Featured Reads

REVIEWS | Sara Veale

Tranquil Intrigue

The title of this dance interpretation of The Tempest highlights a notable departure from canon. In “We Caliban,” Shobana Jeyasingh imagines Shakespeare’s titular native in the collective sense—a tribe, a spirit and a place at once.

REVIEWS | Rebecca Deczynski

Firebird Rising

Long before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.

REVIEWS | Faye Arthurs

Rare Birds

It is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.

REVIEWS | Eoin Fenton

Too Good to be True

When we think of countries that have shaped the world of dance our mind will often drift to the United States, Russia, or Germany. But what of Luxembourg?

REVIEWS | Rebecca Deczynski

Looking Forward

In times of rapid change, predicting the road ahead can seem to be a fool’s errand. But on a spring afternoon at Lincoln Center, I feel confident in this assertion: the future of dance is very bright.