World-class review of ballet and dance.
As Ballet West celebrates its 60th anniversary, it is clearly on an upward trajectory. The company is consistently filling seats, tackling more ambitious work, and the company’s first triple bill of the season was no exception.
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I’d nearly forgotten the many pleasures of watching dance from a folding chair on a riser in a SoHo loft, sound of sirens and traffic rising from the street outside to compete with the more subtle notes of a cello.
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Ola Maciejewska’s “Bombyx Mori” is the second hour-long work in the “Dance Reflections” festival I’ve seen so far. Is this a new trend in European dance, I wonder?
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American Ballet Theatre’s fall season has been brief, too brief to form a sense of the new director Susan Jaffe’s tastes and intentions.
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In Sankai Juku's “Kōsa,” bodies don't just speak, they echo. Movement is generated on dancers then released into the air.
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Every human dreams of flying at some point. We watch the birds and imagine ourselves soaring above the landscape.
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“What is dance?” is a question posited by postmodern choreography, and postmodern choreographers generally seek to answer it through means as far away from conventional notions of dance as possible.
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To consider (La)Horde is to contemplate cool. The French collective is made up of artists Marine Brutti, Jonathan Debrouwer, and Arthur Harel.
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What’s that you see out of the corner of your eye? Is the painting . . . moving? In Florence Peake’s “Factual Actual,” the artist and her collaborators break down the boundaries between inanimate objects and living people with calm assurance and a dash of whimsy.
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Think Sankai Juku on steroids, or a sort of fractured Sufism where spinning does rule, but in the über-darkness of night.
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“States of Hope,” is a clever way to describe the conflicting internal voices that Hope Boykin brings to life in her new dance memoir that premiered at the Joyce in New York.
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For the first season fully programmed by its new artistic director Susan Jaffe, American Ballet Theatre has chosen to look back and, in a sense, shop its own closet.
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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