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Love-struck Pirates
REVIEWS | By Merli V. Guerra

Love-struck Pirates

Admirers of the classic ballets will welcome Ivan Liška’s restoration of Marius Petipa’s “Le Corsaire,” which made its North American premiere on Boston Ballet this past month at the Boston Opera House in Boston, MA. Boasting the drama of “Swan Lake” and the comedic wit of “Coppélia,” “Le Corsaire” takes to the stage with brilliant gusto, striking technique, and adventurous flair.

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Fabrication
REVIEWS | By Gracia Haby

Fabrication

Any time between 3pm and 6pm. That was the deal. Any time within a window. And with freedom to explore. Come and go, as you please. The doors will be left open. Take photos, should you choose. Inhabit the space as you would a public area. Like a park, say. Be a living part of an assemblage. Move within the space. Walk through to the library. Squat beneath the window, recline on the slope, lean against the wall, perch on the ledge just inside the door: it’s up to you. Come, stay, and go, as you please, the invitation stood....

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Swans of La Scala
REVIEWS | By Jade Larine

Swans of La Scala

When Ratmansky’s reconstruction of “Swan Lake” premiered in Zurich earlier this year, dancers were still taming a new vocabulary. Except for Viktorina Kapitonova’s sure-footed agility, the outcome was a bit messy on stage. It was hard to capture the essence of the new-old dance language that Russians could enjoy in 1895.

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Phoenix Dance Theatre
REVIEWS | By Sara Veale

35 Years in the Making  

Phoenix Dance Theatre is one of the UK’s oldest contemporary dance companies outside of London. The Leeds-based troupe was founded in 1981 by three graduates, and has since evolved into a ten-member professional ensemble with a sizeable repertory—including works from the likes of Richard Alston and Didy Veldman—and bevy of stage credits around the UK and abroad. Its latest bill, devised to celebrate its 35th anniversary, revives a 1997 work from Dutch-Israeli choreographer Itzik Galili alongside two recent pieces from British dancemakers Kate Flatt and Caroline Finn—a selection that shows off the range of styles the company has to offer...

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Justice for Giselle
REVIEWS | By Sara Veale

Justice for Giselle

Forget the merry folk jigs and wispy waltzes; Akram Khan’s “Giselle” entertains none of the levity associated with its 1841 predecessor, one of the most famous ballets to emerge from the Romantic era. The new production, created for English National Ballet, is an angry rebuke of inequality and social stratification, perceptive in its condemnation and admirable in its intensity. Khan has preserved the broad strokes of Théophile Gautier’s original narrative—the lovers from different worlds, the devastating betrayal, the supernatural revenge—but overhauled its setting and tone to present a dark parable about the failures of globalisation. The first half reveals our...

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Ashley Dyer
REVIEWS | By Gracia Haby

Aftershock

Darkly, silvered, a grassland of manmade forms grows. It grows in the North Melbourne Town Hall. It is, for now, neatly contained within the designated performance space, but like all things in nature, it is as predictable as it is unpredictable. This constructed grassland of “over 270 poles, strips, or sheets of aluminium, brass, copper and sprung steel”[note]Ashley Dyer, Artist Statement, “Tremor” programme, Arts House, North Melbourne, Victoria, November 2016[/note] hums with life. Its presence felt from the moment I enter the space.

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Alonzo King LINES Ballet
REVIEWS | By Rachel Howard

Shapes & Lines

It happened six days ago; it happened in a different age. An age in which we believed a racist, misogynist sociopath like Donald Trump could never be president. The audience at San Francisco’s Yerba Buena Center for the Arts Theater rose immediately, en masse, and poured forth solemn, awed applause for the LINES Ballet dancers.

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Nijinsky in Black & White
REVIEWS | By Oksana Khadarina

Nijinsky in Black & White

“I know they think I am a sick man. I am sorry for them because they think I am sick. I am in good health, and I do not spare my strength. I will dance more than ever. I want to teach dancing and will therefore work a little every day. I will also write.”

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Kenneth MacMillan Anastasia
REVIEWS | By Rachel Elderkin

Visions of the Past

“Anastasia” may be one of the few full length ballets Kenneth MacMillan created but it is rarely performed. Yet this carefully constructed work feels deserving of a place in company repertoire. If you accept the slow pace, it is an enjoyable, strikingly modern ballet and, in the hands of the Royal Ballet, it is danced with an easy elegance.

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Pat Graney
REVIEWS | By Victoria Looseleaf

Hear them Roar

What is it about a girl in stilettos—those near lethal heels generally designed by men: think Jimmy Choo, Manolo Blahnik and Christian Louboutin—that make a woman feel both seriously sexy and über-vulnerable at the same time? In her, “Girl Gods” (we prefer the term ‘Goddesses’), a dance three years in the making and a Los Angeles premiere, choreographer Pat Graney ventures into the terrain of feminine tropes with mordant wit, alarming candor and reservoirs of rage.

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