World-class review of ballet and dance.
I imagine choreographers lazing about listening to disparate styles of music they may want to dance to. Or it’s possible a few dancer friends drop by or roomies come home and one says, “I’ve got a tape to play.”
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On one of the longest days of sunlight, the innovative, multi-disciplinary performance outpost in New York’s Hudson Valley, PS21, is presenting a “sneak preview” of a work under development in an onsite, four-week residency.
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Though I desperately wanted to see the American Ballet Theater premiere Wayne McGregor’s “Woolf Works” this season, one could do worse than seeing “Onegin” as a last show before hitting the road for summer vacation.
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Dutch company Introdans’s mission statement is in its name: The group was founded by Ton Wiggers in 1971 to “introduce dance” to as large an audience as possible, at first responding to a lack of professional concert dance in Wiggers's own region, the eastern part of the Netherlands.
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Twyla Tharp's newest evening-length work, “How Long Blues,” is absurd. In under an hour, it depicts jazz clubs and soccer games, giant marionettes, a string of affairs, an avalanche, and a suicide, all without any particular reasoning.
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The School of American Ballet is celebrating its 90th anniversary this year. So is George Balanchine’s iconic “Serenade”—the first piece he made in America in 1934, choreographed on students from his brand-new academy.
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Sometimes there’s not much you’re able to say analytically about a dance work, and yet you know you’ve just witnessed a blood-guts-and-soul offering from an artist of the keenest kinaesthetic intelligence. Such was the case with gizeh muñiz vengel’s “auiga,” second on a double bill finale for the ARC Edge residency at San Francisco’s CounterPulse.
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The Australian Museum Mammalogy Collection holds ten specimens of the Bramble Cay Melomys collected from 1922–24, when they were in abundance. One hundred years later, a familiar photo of a wide-eyed, mosaic-tailed Melomys, the first native mammal to become extinct due to the impacts of climate change, greets me as I enter the Arts House foyer.
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Pre-pandemic, queerness and ballet were two terms not often put together. So, when choreographer Adriana Pierce started bringing a community of queer-identifying people together on Zoom—cis women, trans people of all genders, and nonbinary dancers—it felt like a watershed moment for many of them.
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Watching Pacific Northwest Ballet’s “Coppélia,” which the Seattle company generously released as a digital stream for distant fans, you could easily fall down two historically rewarding rabbit holes.
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There was a series of warnings that led up to the moment it all fell apart, but no-one listened. Everything appeared to follow a linear trajectory, an illuminated, diagonal path that led straight to the suspended glass orb at the foot of the stage.
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If, as George Balanchine once so famously pronounced, “Ballet is woman,” then director and choreographer Lincoln Jones showed off the gals in his troupe, American Contemporary Ballet (ACB), to great effect in his world premiere, “Sapphires.”
Continue ReadingWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
Continue ReadingThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
Continue ReadingAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
Continue ReadingAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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