Lifted Spirits
Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
PlusWorld-class review of ballet and dance.
Grupo Corpo, the Brazilian contemporary company, gave one performance in Austin, sandwiched by stops in Minneapolis and New Orleans, and between engagements in New York City and Europe. I can imagine that these one-nighters blur together for the members of the group, distinguishable only by hotel and theater amenities and the receptiveness of the audience. But for Austin audiences, who have had the opportunity to see the company once every few years since 2008, thanks to programming by the University of Texas, each of these rare performances is distinct. The two ballets on this program, both created for the company in celebration of the company’s fortieth anniversary last year, were memorable syntheses of music, design, movement, and powerhouse execution.
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Grupo Corpo perform “Suite Branca.” Photograph by Jose Luiz Pedernieras
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Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
PlusTalk about Gesamtkunstwerk! Jawole Willa Jo Zollar’s “SCAT!...The Complex Lives of Al & Dot, Dot & Al Zollar,” is just that—a total work of art: operatic in scale, replete with stellar musicians and singers, and the glorious dancers of Urban Bush Women, the troupe that Zollar founded in 1984, is also storytelling at its best.
PlusOf all of Shakespeare’s plays, “Hamlet” might seem the hardest to adapt into dance. Its long soliloquies and a titular character stymied by indecision do not immediately scream movement potential.
PlusComplexions Contemporary Ballet turned 30 this year, and their two-week residency at the Joyce Theater was a party.
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