Evolving Dynamism
English National Ballet’s latest mixed bill presents a trio of works from William Forsythe, a dancemaker known for slanting ballet into new gradients, some playful, some confrontational, all of them spirited and agile.
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The question of new work has loomed large over Tanztheater Wuppertal Pina Bausch since its eminent founder passed away in 2009. Determined to uphold the late Pina Bausch’s legacy, her troupe has spent the past decade restaging her greatest hits in an effort to pass them on to a new generation of dancers and audiences. This year marks a new course for the company, as it expands its repertoire to include material from outside artists for the first time. Norwegian playwright and choreographer Alan Lucien Øyen is one of the chosen few: his “Bon Voyage, Bob . . .” joins Dimitris Papaioannou‘s “Since She” as one of two inaugural new commissions.
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Andrey Berexin, Julie Shanahan and Tsai Chin Yu in “Bon Voyage, Bob . . .” for Tanztheater Wuppertal Pina Bausch. Photograph by Mats Bäcker
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English National Ballet’s latest mixed bill presents a trio of works from William Forsythe, a dancemaker known for slanting ballet into new gradients, some playful, some confrontational, all of them spirited and agile.
PlusMartha Graham is the Georgia O’Keefe of dance. No matter what the source material, the primary subject of her works is womanhood.
PlusPetite in stature, with beautiful, delicate features, Scottish dance artist Suzi Cunningham is nonetheless a powerhouse performer: an endless shape shifter whose work ranges from eerie to strange, to poignant, or just absolutely hilarious.
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