Eye Candy
’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
FREE ARTICLEWorld-class review of ballet and dance.
The Tiffany Mills Company and Ensemble Ipse recently teamed up for a weekend of shows at the National Sawdust Theater. Theirs was a good, symmetrical pairing: Mills brought seven talented dancer-actors to the party opposite Ipse’s seven talented violists. Yet despite this balanced equation in personnel, their combined efforts leant more towards destabilization than tidy sums. Over the course of an hour, the musicians and dancers presented three different works. On their own, these pieces were slightly impenetrable, but, considered together, the artists wove a dreamlike tapestry based around the tentpole themes of sight and suffering.
Performance
Place
Words
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
Already a paid subscriber? Login
’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
FREE ARTICLELike two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Continue Reading“I can’t even stand it,” exclaimed Tina Finkelman Berkett about the Perenchio Foundation grant that her dance troupe, BodyTraffic, recently received.
Continue ReadingBeneath a tree also over a century old is where I meet dancer and artist Eileen Kramer, and where the 60-minute loop will end. And it feels fitting, on the heels of her recent death on November 15, 2024, at 110-years-of-age, to start here, at effectively the end of Sue Healey’s screening of On View: Icons.
FREE ARTICLE
comments