Tomorrow’s Hopes
There’s not a whole lot that’s new in this programme of new works from Alvin Ailey, which I mean in the best way possible.
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World-class review of ballet and dance.
What's your poison? Tom of Finland, or Boy George? Madonna, or Marilyn? Top, or bottom? There have been so many recent dramas of late, focussing on eighties' queer culture: The Line of Beauty, Pride, Love Song to Lavender Menace, and It's A Sin, among others. It's the latter that Shaper/Caper's “Small Town Boys” most resembles, but it's rooted in a very Scottish queer club culture.
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There’s not a whole lot that’s new in this programme of new works from Alvin Ailey, which I mean in the best way possible.
PlusSo often, dancers are treated as vessels for a choreographer’s vision. Movements are imprinted on their bodies and they must, to the best of their abilities, convince the audience that they believe.
PlusThere’s hot, and then there’s blistering, as was evidenced when “Flamenco! María Bermúdez Convivencias,” was presented to the nearly sold-out crowd at the Ford on Saturday night.
PlusLike Eve with the apple, the story of Pandora’s box hinges on a clear divide—the ideal before and the sullied after.
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