I’ve long been preoccupied with the blurry boundary between arts and sports....
Dance Reviews
Just as the iconic 1973 film transferred stage designs to film, and...
This time yesterday I was sat on the floor. This time yesterday,...
“I’m really into vengeance, sadly,” Maurya Kerr told the 92nd Street Y’s...
The Batsheva Dance Company returned to New York City after a four...
“La Sylphide” is a cautionary tale. Young men should not abandon their...
For the first time in six years an international choreographer has created...
Some years ago, I wrote, “Dance has the power to stir the...
Mo Khansa, who works simply as Khansa, is a radical young Lebanese...
On Friday March 3, Brooklyn Academy of Music’s Howard Gilman Opera House...
You can fit a lot into three hours. You can span, if...
In a world in the midst of war, emerging from its post-pandemic...
The more one knows fairy tales the less fantastical they appear ....
This mixed bill takes its name from the daily barre classes Tiler...
After an absence of six years, the New York City Ballet revived...
I’ve long been preoccupied with the blurry boundary between arts and sports. To my mind, the Rose Adagio balances in “Sleeping Beauty” and Odile’s 32 fouettés in “Swan Lake” are akin to the triple axels in figure skating competitions. It was fitting, then, that Ailey II’s New York Season, which...
“La Sylphide” is a cautionary tale. Young men should not abandon their fiancées on their wedding day; they should not be unkind to beggar-women who turn up on their doorstep; and certainly they should not attempt to capture and possess that which can never belong to them. These lessons are...
You can fit a lot into three hours. You can span, if you have the reach and vision of choreographer Lucy Guerin, 21-years in a performance installation at the Australian Centre for Contemporary Art (ACCA). A Lucy Guerin Inc production, presented in partnership with ACCA, as part of Frame: a...
Just as the iconic 1973 film transferred stage designs to film, and the choreography “from a stage setting to a film setting [to] let the camera tell the story,” The Australian Ballet have transferred the energy and humour of the film to the stage once more. As befits a company’s...
For the first time in six years an international choreographer has created a work on Sydney Dance Company. Spanish superstar Marina Mascarell’s “The Shell, A Ghost, The Host and The Lyrebird” is one of three works being performed at the Sydney Opera House as part of the company’s triple bill, “Ascent.”...
In a world in the midst of war, emerging from its post-pandemic slumber, themes and acts of unity, contact and harmony are more than welcome. The differences that make us human are also, dichotomously, the magic that brings us closer together. The subtle nuances of language, the freckles on your...
This time yesterday I was sat on the floor. This time yesterday, at 3pm, in the van Praagh studio, named after Peggy van Praagh, the Australian Ballet’s founding artistic director, at the Primrose Potter Australian Ballet Centre, I was unsure what I’d see, in the truest and best sense of...
Some years ago, I wrote, “Dance has the power to stir the viewer’s innermost longings and outermost visceral reactions. Few choreographers reach into those sensibilities as effectively as Kun-Yang Lin. With quiet power, he arrives at the essence of an emotion—humor, spirituality, anguish, ecstasy—extracts it raw, and then, with quicksilver...
The more one knows fairy tales the less fantastical they appear . . . Marina Warner, From The Beast to the Blonde How many ways to think about “Sleeping Beauty”? In the first written Italian and French versions, the plots outline the fate of a young girl as the object...
“I’m really into vengeance, sadly,” Maurya Kerr told the 92nd Street Y’s Harkness Dance Center director Taryn Kaschock Russell following Kerr’s “black calls to dark calls to deep underneath.” “I try to get it out in my work instead of in person,” Kerr added. This was the New York debut...
Mo Khansa, who works simply as Khansa, is a radical young Lebanese dance artist, choreographer and singer who interrogates ideas about identity, place, gender, sexuality and autonomy in his incredible work. Influenced by his mother, herself a more traditional type of dancer, and iconic artists like Arca, Robert Mapplethorpe, Bjork...
This mixed bill takes its name from the daily barre classes Tiler Peck started hosting on Instagram Live during the 2020 lockdown, an impromptu venture that soon had 15,000 people tuning in to #turnitoutwithtiler. The New York City ballet superstar is a much-loved luminary, known for her sunny energy on...
The Batsheva Dance Company returned to New York City after a four year hiatus for a two-week engagement (February 28-March 12) at the Joyce Theater to perform “Hora,” created by Ohad Naharin. The renowned choreographer, having led this premier dance company of Israel from 1990 to 2018 as artistic director,...
On Friday March 3, Brooklyn Academy of Music’s Howard Gilman Opera House transformed into Pina Bausch’s fantasy of Brazil via “Água.” For nearly three hours, the charismatic dancers of Tanztheater Wuppertal Pina Bausch, now under the direction of Boris Charmatz, rollicked through classic Bausch terrain—an endless parade of dreamy solos,...
After an absence of six years, the New York City Ballet revived Peter Martins’s “The Sleeping Beauty” to close out the Winter Season. A lot has changed at the ballet in that interim, including the departure of Martins himself. But I hadn’t seen this “Beauty” from the front in over...
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