On Love and Mortality
What’s special about Rudi van Dantzig’s “Romeo and Juliet” is how deeply it is steeped in the textures of popular devotion and everyday life, reminiscent of Flemish painting in its chiaroscuro and crowded humanity.
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World-class review of ballet and dance.
For any dance aficionado, Sadler's Wells is a legendary location. From the first theatre built in the seventeenth century, to the present day, with the sixth theatre standing in the prestigious Clerkenwell area of London, countless numbers of dancers, actors, choreographers and directors have cut their teeth here. The series of short online films presented by Sadler's Wells and currently available on YouTube are as eclectic as anything from the venue's centuries of inspiration. They all show the diversity of performances as well as the progression of dance, in terms of both choreography and developmental film techniques on screen. Watching these very individual films on lockdown feels poignant, not just because of observing social distancing, but it also leaves the viewer wondering about the future of maintaining dance as an art form in such uncertain times, as theatres across the world remain closed.
National Youth Dance Company in “Madhead” by Botis Seva. Photograph by Tony Nandi
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What’s special about Rudi van Dantzig’s “Romeo and Juliet” is how deeply it is steeped in the textures of popular devotion and everyday life, reminiscent of Flemish painting in its chiaroscuro and crowded humanity.
PlusWho is David Roussève? Is he a 64-year-old African American dance/theater artist taking to the stage in a solo outing for the first time in 20 years? Check!
PlusFolded forward at the waist, knees pressed together, but with her feet apart, Rachel Coulson assumes bird-like form. With her legs held as if bound at the knees, she travels backwards. Arms extended away from her torso giving the impression of wings, she rotates her hands as if her feathery tips are taking readings of the environment around her. In the conjuring of shapes, of course a waterbird appears before my eyes. This is part two of DanceX, presented by the Australian Ballet, where Stephanie Lake Company’s “Auto Cannibal,” replete with Coulson’s bird-like solo, shares the stage with West Australian...
PlusLimón Dance Company launches its 80th anniversary season with three works that represent the company’s past, present, and future. They not only celebrate José Limón, but demonstrate how his themes guide the company in fresh new ways.
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