World-class review of ballet and dance.
Dreadlocks are not the first thing that come to mind, looking at UK artist Nicola Turner’s fibre sculpture currently installed at Carvalho Park gallery in East Williamsburg. But I hesitate to open a review with a vision of the poop emoji.
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Inspired by breaking, neo-classical ballet and dance theater, Rubberband, founded in Montreal in 2002 by Victor Quijada, presented two works at BroadStage over the weekend in what was seen as a homecoming of sorts for Quijada.
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The Batsheva Dance Company returned to the BAM Opera House this week bringing their latest evening length work, “Momo.” This was the ninth Batsheva production that BAM has presented since 2002. New York City dance lovers packed the venue amid tight security and outdoor protestors to see this foremost contemporary dance company perform a masterpiece of haunting and reflective beauty.
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Cold, immovable violence is rooted at the heart of Johan Inger’s “Carmen.” Drawing from Prosper Mérimée’s 1845 novella, Inger’s timeless version of “Carmen” revels, as it was originally written, Carmen’s death, at the hands of Don José, as chillingly intentional.
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As Hollywood geared up to decorate film performers in front of the world at the annual Oscars ceremony, New York City Ballet principal dancers Mira Nadon and Peter Walker laid down a phenomenal “Swan Lake” for a lucky audience of about 2,600 on an unassuming Wednesday night.
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The boulevard of London plane trees has been wrapped in Yayoi Kusama’s white-on-pink dots, the only southern hemisphere biodiversity capable of flourishing in these particular northern hemisphere trees.
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A Midsummer Night’s Dream” is one of William Shakespeare’s best-known comedies. Filled with fairies, mischief, and moments of mistaken identity, it's a mischievous tale that delights with its chaos and humor.
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The Sarasota Ballet is not only an impressive troupe in its own right, with a repertory that elevates it to the top rank of America’s regional ballet companies. It also has the enlightened policy of inviting outside companies to perform as part of its yearly seasons.
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From the moment Darrell Jones steps onto the platform erected as a stage in an empty gallery space of MoMa PS1, he’s constantly in motion. Barefoot, in t-shirt and workout pants, he moves to a beat only he can hear, AirPods sticking out from his ears. Both fluid and awkward, his energy is frenetic.
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Last fall, designer Batsheva Hay started her New York Fashion Week runway show with an unconventional opener. Lori Belilove, the artistic director of Lori Belilove & the Isadora Duncan Dance Company, performed Isadora Duncan’s solo “The Revolutionary.”
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Joffrey Ballet’s latest mixed bill programme, “Golden Hour,” unfurled into the still dark and snowy evening streets of Chicago in mid-February (‘Danger Ice Falling’ signs littering the pavements). This diverse mix of works contained two world premieres, including a co-production with Oregon Ballet Theatre titled “Princess and the Pea.”
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Nijinsky lives! Or at least it seemed that way in a commanding performance by the five dancers of “Bodysuit,” an extraordinary work created by the eternally intriguing Sharon Eyal, purveyor of Gaga, and British artist Georgy Rouy, with Eyal’s husband, Gai Behar, credited as co-creator.
PlusWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
PlusThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
PlusAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
PlusAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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