Touch Grass
City living is not for all of us. For many there is nothing more appealing than that stillness of nature, that sense of suspended time.
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World-class review of ballet and dance.
City living is not for all of us. For many there is nothing more appealing than that stillness of nature, that sense of suspended time.
Continue Reading“Flower and Decoy” is stark, darkly poetic dance theater. Combining traditional Japanese aesthetics, supernatural horror and street dance, Tatsuya Hasegawa leads his all-male dance troupe, Dazzle, through an intricate, abstract contemplation of myth and mortality.
Continue Reading“Don Quixote” is a funny ballet—and I mean funny both as in odd and as in hilarious. This season, the American Ballet Theatre presented its fourth staging of this comedic classic, by artistic director Susan Jaffe and regisseur Susan Jones.
Continue ReadingEntering the theater at Lincoln Center’s Alice Tully Hall, one hears birds chirping and the blowing of the wind. Haze swirls from the open stage revealing only the faint outline of a set built to resemble the windswept, sandstone rock formations of Wadi AlFann (Valley of the Arts) in the ancient oasis of AlUla in the Saudi Arabian desert.
Continue ReadingA nearly 200-year-old story is having a moment. “Eugene Onegin,” the novel in verse by Alexander Pushkin, which published in 1833, has made its way to countless stages in ballet and opera adaptations in the past few months—the most recent being American Ballet Theatre’s production of “Onegin,” the John Cranko ballet, which was originally created for the Stuttgart Ballet in 1965.
Continue ReadingIn early June, the Scottish Ballet came to Koch Theater at Lincoln Center, New York, with “Mary, Queen of Scots” for a run of five performances.
Continue ReadingThere is a tradition at play whenever the annual Flamenco Festival takes over Sadler’s Wells in the early summer, it is almost always swelteringly hot outside.
Continue ReadingAs part of a new two-week summer dance festival, Lincoln Center brings back a popular work by French choreographer Rachid Ouramdane first shown in NYC ten years ago. “Tordre,” which means to twist or contort, is a duet that operates as double solos.
Continue ReadingThere is no such thing as a “Lucinda Childs vocabulary,” the choreographer herself clarifies in a pre-show talk with Gideon Lester, the artistic director and chief executive of Bard College’s Fisher Center. Inside the spectacular, Frank Gehry-designed building, the choreographer—who days before, celebrated her 86th birthday—is about two hours away from performing herself.
Continue ReadingUpon arrival, colour greets me, and how. A wall of colour and pattern by Jeffrey Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, it is joyous and intriguing, loaded and bright. Snaking up the two sides, in blue lettering, all caps, a tantalising premise: “The only way out is through.”
Continue Reading“Sheltering,” Bangarra Dance Theatre’s new triple bill, having opened in Canberra on Ngunnawal Country, is on its national tour.
Continue ReadingWelcomed back to Los Angeles for the first time in 22 years (but who’s counting!), New York City Ballet made a triumphant return to the Dorothy Chandler Pavilion in two separate programs.
Continue ReadingLong 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.
Continue ReadingIt 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.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Continue ReadingAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Continue ReadingOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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