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Bangarra Dark Emu

REVIEWS | Par Gracia Haby

The Emu in the Sky

Up in the sky there is a giant emu. They have been there all along, in the calendar in the sky. Above our heads, a creator spirit,[note]The title of Bruce Pascoe’s book, Dark Emu, on which Bangarra Dance Theatre’s “Dark Emu” is inspired by, “refers to the shape of the ‘Dark Emu’ in the night sky which represents Baiame, one of the spirit creator figures of Aboriginal Australia. The emu is also a grain feeding bird, and a plains bird, so the reference is to the creator spirit and to Aboriginal food production”. Bruce Pascoe, in interview, “The Book,” Bangarra...

Giselle

REVIEWS | Par Gracia Haby

Ethereal Giselle

Light and dark, day and night, youth and maturity, a flirtation and redemption, naturalistic and ethereal: “Giselle” spins a conjuror’s trick all the wilier for its very familiarity, its everlasting allurement. An autumnal village presented in Act I flips to reveal the ballet blanc of Act II: two halves of a whole. We know this, we anticipate this, we lap it up. Fermented in honey before interval, raising a flagon of mead to love, and even love’s folly, and unpinned madness, we heed the warnings spun to the villagers. The flipside to a light-hearted Peasant pas de deux is heartache...

Sydney Eisteddfod

REVIEWS | Par Claudia Lawson

Showtime

With cash prizes totalling $36,000, the Sydney Eisteddfod Ballet Scholarship is the biggest cash prize for rising ballet stars in the southern hemisphere. Now in its 44th year, the scholarship is open to dancers aged 16-19 all of whom are teetering on the edge of securing a place in a world class ballet school, or for the lucky few, a company contract. For an art form reliant on funds to enable careers, the scholarship presents a serious opportunity.

Michelle Manzanales

REVIEWS | Par Rebecca Ritzel

With Open Arms

Of all the touring modern dance companies based New York, none has consistently introduced talented new choreographers (or new-to-me choreographers) like Ballet Hispánico.

szalt

REVIEWS | Par Victoria Looseleaf

Moondance

While the full moon was never actually visible—at least from this reviewer’s seat—during the world premiere of Stephanie Zaletel’s “moon&”—there was still an incandescent quality to the dancer/choreographer’s fifth evening-length work. Especially when Zaletel took center stage at the outdoor amphitheater, a sylvan venue nestled in Hollywood’s Cahuenga Pass, where she led her six-person, all-female szalt (dance co.), a collaborative founded in 2015, in a work that veered from meditative stillness and surrender to frenzied states of prolonged rapture and the accompanying struggles—gravitational and otherwise—of what it means to live on this earth.

Akram Khan Xenos

REVIEWS | Par Lorna Irvine

Drag Me To Hell

At once of the earth, and completely otherworldly, Akram Khan's apocalyptic last-ever solo piece as a performer (or so he has stated) grips from the outset, and never lets go. From the minute he is spat out onto the stage, tied to a rope which renders him as vulnerable as a newborn tied to the umbilical cord, or prisoner yearning to break free, this piece of choreography is a snarling beast. It is a nightmarish vision of a state of being in limbo, inspired by Prometheus. “Xenos,” which translates as 'foreigner' or 'stranger,' stands for anyone ostracised, othered, or incarcerated...

Split

REVIEWS | Par Claudia Lawson

Split

Lucy Guerin is known for her left of field works, and “Split” is no different. The scene of the performance is the Sydney Opera House’s Studio. As far as the Sydney Opera House goes, it is not a common setting for a dance performance. Rather than a large performance space, it is an intimate theatre space; dimly lit, roughly the size of a community hall. The stage is just an open space in the middle of the seats—no curtains, no props, but cordoned off with masking tape to mark the boundaries. Our bags have been security checked and we've been...

Ballet Sun Valley

REVIEWS | Par Penelope Ford

Stars in Sun Valley

Sun Valley, ski-resort and playground for the rich and famous, is nestled by the picturesque Sawtooth mountains, Idaho. The (Western) history of Sun Valley begins in 1936 when Union Pacific Railroad chairman Averell Harriman decided to build America's first destination ski-resort. Count Felix Schaffgotsch went in search of the perfect locale, and three days after his arrival in Sun Valley, he wired Harriman: “Among the many attractive spots I have visited, this combines the more delightful features of any place I have seen in the United States, Switzerland, or Austria for a winter ski resort.”

BalletX Summer Series

REVIEWS | Par Merilyn Jackson

Summertime

BalletX’s Summer Series 2018 programmed three easygoing world premieres at the Wilma Theater last week. With comic moves here and there to classical music, and gestures at more serious themes, except for Penny Saunders' “Rock-a-Bye,” there was not much to overheat the packed audience during these sultry dog days.

American Ballet Theatre Bayadère

REVIEWS | Par Victoria Looseleaf

Spiritual Shades

Those feet! Those hands! Those insanely flat stomachs! This is American Ballet Theatre’s “La Bayadère,” Marius Petipa’s iconic 1877 ballet restaged in the West by Russian ballerina Natalia Makarova for ABT in 1980 and seen over the weekend with three different casts. (It’s also the 200-year anniversary of the birth of Petipa, a giant in the ballet world whose some 150 choreographies include his 1862 opus, “The Pharaoh’s Daughter,” his 1869 “Don Quixote” and “The Sleeping Beauty,” from 1890).

Sasha Janes

REVIEWS | Par Rebecca Ritzel

Summer Storm

Watching Sasha Janes’ “The Four Seasons” is like reliving the best year of your life, if your life was a ballet.

Cullberg Ballet

REVIEWS | Par Victoria Looseleaf

Venice Dance Biennale

Ah, Venice—one of the world’s most gorgeous cities. Known for its spectacular art, music and architecture, the town with its famed Grand Canal and Rialto Bridge, also plays host to an edgy international dance festival. The terpsichorean portion of the Venice Biennale—the doyenne of contemporary art exhibitions founded in 1895, one that has also included a film sector since 1932 (cue A-list movie stars each August)—is now celebrating its 12th edition. Currently under the auspices of the eminent Canadian-born dancer/choreographer Marie Chouinard, whose troupe Compagnie Marie Chouinard, was founded in 1990, the festival proved a worthy showcase for performers and...

Featured Reads

REVIEWS | Rebecca Deczynski

Firebird Rising

Long before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.

REVIEWS | Faye Arthurs

Rare Birds

It is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.

Lord of the Dance

REVIEWS | Faye Arthurs

Lord of the Dance

The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.

REVIEWS | Eoin Fenton

Jack of Hearts

As the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.

REVIEWS | Rachel Howard

School Report

One of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.