All – Tagged "REVIEWS" – Page 56

Latest

REVIEWS | By Cecilia Whalen

Work Out

There's a clip from “Twyla Moves,” the PBS American Masters episode about Twyla Tharp, of Tharp rehearsing with dancers in Central Park. It's from 1969: They were wearing regular street clothes, kicking and turning, throwing their bodies up and across, down and around as baby carriages, football players, and police on horseback meandered through them. Indifferent towards aesthetic perfection or public perception (not to mention whether or not their sneakers got stained), the dancers launched themselves through the park, falling and flying to the point of exhaustion.

REVIEWS | By Gracia Haby

A Living Future

The night begins with a homophone. With a playful swap of the knowing word ‘knew’ for a word that sounds the same when you speak or read it, but which now conjures up things shiny and in the present: ‘new.’ Johan Inger’s high-spirited, wistful memory, “I New Then” premiered in 2012, but it looks back further still, to what we now know was a ‘new’ time, one “that was both pure and simple but with the distinct challenges of becoming an adult.”[note]Johan Inger, “I New Then” choreographer’s statement, https://www.johaninger.com/#/i-new-then, accessed October 21, 2022.[/note] With an invitation to “walk and talk...

REVIEWS | By Marina Harss

The People's Movement

Fouad Boussouf’s “Näss” (the title means “people,” in Arabic) is a dance for seven men from his company Le Phare, set to an hour’s worth of intensely rhythmic, often trance-like music. The men are strong, and focused, at times vulnerable, at times aggressive, but never less than compelling. As their bodies submit to, and then begin to bend, the rhythm, they seem to take part in rituals, either private or shared. Eventually each man peels away from the group and erupts into a solo—if it were a play, these would be monologues. Each seems to express a different emotion: solitude,...

REVIEWS | By Victoria Looseleaf

The Look of Love

A breath of fresh, brilliant, joyous—and much needed—air blew into BroadStage on Thursday for the world premiere of Mark Morris’ “The Look of Love.” Co-commissioned by a national consortium of arts presenters, including BroadStage, the work is set to music from the vast cannon of multi-Grammy-award winning pop composer and songwriter, 94-year old Burt Bacharach, with lyrics by his frequent collaborator, Hal David, who died in 2012.

REVIEWS | By Marina Harss

Ode to Joy

Alexei Ratmansky’s ballet “Whipped Cream,” which is wrapping up a week-long run at American Ballet Theatre, is the very opposite of a cautionary tale. A young boy gorges on whipped cream, only to be felled by a belly ache. He is dragged off to the hospital, where he is tormented by a bulbous-headed doctor and hypodermic-wielding nurses. But then, lo and behold, a princess conveyed on a snow-yak (that’s right) and three dancing liquor bottles come to the rescue. The doctor and nurses get drunk, and the boy magically travels to an enchanted place filled with dancing, happy people, where...

REVIEWS | By Sara Veale

Imaginative Reality

Crystal Pite’s “Flight Pattern,” created for the Royal Ballet in 2017, was noteworthy not just for its elegant storytelling but also its status as the first female-choreographed ballet to hit Covent Garden’s main stage this century. The half-hour ballet thrived on the power of the collective, marshalling three dozen dancers to tell an urgent chronicle about unity and strife, bodies breathing as one.

REVIEWS | By Victoria Looseleaf

The Art of War

The term, “theater of war,” as defined by the National Command Authorities, is the area of air, land and water that is, or may become, directly involved in the conduct of war. To Jacques Heim, founder, artistic director and choreographer of the 30-year old, Los Angeles-based troupe, Diavolo|Architecture™ in Motion, these words have taken on a literal meaning in the context of art: With veterans performing besides dancers in “S.O.S. – Signs of Strength,” which had its Los Angeles premiere in March and was seen as part of a double bill in Houston over the weekend, the work is searing,...

REVIEWS | By Cecilia Whalen

All That Jazz

LaTasha Barnes was dancing the Lindy Hop before she even knew it. In a 2021 interview with the New York Times, Barnes, who has come to international acclaim for her excellent performances in jazz and hiphop styles, said that the first time she tried Lindy partnering, her body already knew what to do. “I've felt this before,” she said, and, after consulting her grandmother, learned that she had actually been doing those moves since childhood.

REVIEWS | By Gracia Haby

Language of Love

A lot can happen in a handful of days. You can find your Romeo or Juliet. Make a declaration of eternal love. You can be impetuous for nightfall. You can be drawn into a portentous duel in a market place. You can come up against history and a family feud that has little to do with you. You can be sentenced to exile. You can be grief-stricken. It can all end in the Capulet family crypt.

REVIEWS | By Faye Arthurs

A Long View on Gala Fads

The Koch Theater was packed to the rafters for the New York City Ballet’s 10th Fall Fashion Gala. The evening’s honoree and mastermind, Sarah Jessica Parker, was unfortunately absent (due to a death in the family), but everyone else sure turned out: the evening raised a record-setting 3.4 million dollars. It was good to see the house stuffed to the fifth ring; the repertory performance I saw the Wednesday prior was a ghost town. I’m guessing the fabulously clad crowd was there for the fashion, but I was most eager to see Kyle Abraham’s new piece. His 2018 entry, “The Runaway,”...

REVIEWS | By Gracia Haby

Dances with Gravity

In physics, the motion of a pendulum can be described as: θ(t) = θocos (ωt). In choreography and composition, the motion of a pendulum can also be described as Lucy Guerin and Matthias Schack-Arnott’s “Pendulum: a mesmerising dance with gravity.” In both, the data of time, length, and gravity come together in simple harmonic solution.

REVIEWS | By Karen Hildebrand

Final Run

There’s a lot going on in Yvonne Rainer’s “Hellzapoppin’ What about the bees?” performed by eight dance artists and actress Kathleen Chalfant as special guest. A founding member of Judson Dance Theater, writer, and experimental filmmaker, Rainer’s wit and breadth spans several mediums in her newest work. At 87, with two Guggenheims and the MacArthur Fellowship under her belt, Rainer claims this show is her finale.

Featured Reads

REVIEWS | Karen Hildebrand

Spellbound

Two performers crawl in on hands and knees wearing neon green, hooded coveralls—the lightweight papery kind made for working in a sterile environment—and clusters of balloons pinned to their backs.

REVIEWS | Sarah Cecilia Bukowski

Green Light

Will Rawls makes boundaries visible by defying them. Known for the disciplinary and topical range of his projects, the choreographer, director, and performer approaches issues of representation in “[siccer],” a multi-part, multi-site work co-presented by L’Alliance New York’s Crossing the Line Festival. A live performance at Performance Space New York...

REVIEWS | Faye Arthurs

Home and Away

It is always interesting when multiple theme steps emerge over the course of a mixed repertory evening, but it is uncanny on one featuring five different ballets, each with a different choreographer and composer, covering a twenty-year span (2005-2025).

REVIEWS | Karen Greenspan

Of Dandelions and Resilience

Zvidance premiered its new work “Dandelion” mid-November at New York Live Arts. Founded by Zvi Gotheiner in 1989, Zvidance has been a steady presence in the New York contemporary dance scene, a reliable source of compositional integrity, and a magnet for wonderful dancers.

REVIEWS | Steve Sucato

The Music Within

Cleveland native Dianne McIntrye received a hometown hero's welcome during her curtain speech prior to her eponymous dance group thrilling the audience in her latest work, “In the Same Tongue.”