Winning Works
The late John Ashford, a pioneer in programming emerging contemporary choreographers across Europe, once told me that he could tell what sort of choreographer a young artist would turn into when watching their first creations.
PlusWorld-class review of ballet and dance.
This October, the Canada National Ballet returned to London for the first time since 2013 with a series of performances at Sadler’s Wells Theatre. The programme, which included three short works—James Kudelka’s “Passion,” Emma Portner’s “Islands,” and Crystal Pite’s “Angels’ Atlas”—afforded Londoners the opportunity to view a world-class company and celebrate a cast of all-Canadian choreographers. However, the highlight of the company’s visit was the chance to catch sight of a famed prima ballerina at the height of both her artistic and technical powers: Heather Ogden.
Performance
Place
Words
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
Already a paid subscriber? Login
The late John Ashford, a pioneer in programming emerging contemporary choreographers across Europe, once told me that he could tell what sort of choreographer a young artist would turn into when watching their first creations.
PlusLast weekend, the Royal New Zealand Ballet hosted two nights of performance in collaboration with the Scottish Ballet at the St. James’ Theatre in Wellington, New Zealand. The bill included two works by choreographers affiliated with Scottish Ballet, and two by RNZB choreographers. There was welcome contrast in timbre and tempo, and common themes of self-actualisation and connection, through a love of dance. As RNZB artistic director Ty King-Wall announced in the audience address, the two-night only performance was in the spirit of “bringing the companies together in mutual admiration and respect.”
PlusWho knew that a PB & J sandwich could conjure Proust’s madeleine? Certainly not this writer. But it’s not farfetched to think that Lincoln Jones, the artistic director, choreographer and conceptual guru of American Contemporary Ballet, had the idea of memory in mind when he conceived “Homecoming.”
PlusThe Korean Cultural Center New York presented the ChangMu Dance Company this past week and treated the public to an artistic gem. ChangMu Dance Company, currently with fourteen dancers, was founded in 1976 by Kim MaeJa, a pioneer of Korean “creative dance.”
Plus
comments