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.
PlusWorld-class review of ballet and dance.
Beneath a tree also over a century old is where I meet dancer and artist Eileen Kramer, and where the 60-minute loop will end. And it feels fitting, on the heels of her recent death on November 15, 2024, at 110-years-of-age, to start here, at effectively the end of Sue Healey’s screening of On View: Icons. Showing at Dancehouse’s Sylvia Staehli Theatre, from 4pm in the afternoons onwards, as part of the launch of Dance (Lens) Mini the audience is invited to duck into the cool, dark reprieve of the theatre at any time and immerse themselves in a three-channel, cine-portrait of six Australian dance legends.[1] As timing has it, this is where I am to begin. As the familiar strains of the “Blue Danube” waltz lilt “let us dance,” Kramer imparts, “it’s been a long journey, but I don’t care about age, that means nothing to me; I’m more concerned about spirit, and the spirit has no age.”
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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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