At Giselle’s House
Michele Wiles’ Park City home is nestled in the back of a wooded neighborhood, hidden from the road by pines and deciduous trees that are currently in the midst of their autumn transformations.
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French Jewels
It was a grand night of show and—well, show more—as eight members of L.A. Dance Project strutted their gorgeous, technically brilliant stuff in the US premiere of “Gems.”
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Traditional Tales Retold
During the summer, two Chinese dance productions came to Koch Theater at New York’s Lincoln Center: “Lady White Snake” from Shanghai Grand Theater in July and “Butterfly Lovers” from Hong Kong Ballet in August.
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A New Performance Language
I walk into Roulette, a rough-around-the-edges world music venue, a couple of blocks from the Brooklyn Academy of Music (BAM). I am attending “Dambudzo,” presented as part of BAM’s Next Wave Festival, brought to the neighborhood by the bold imagination and creative enterprise of Zimbabwe performing artist Nora Chipaumire.
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An Evening of Horror
To say the least, the true story of a juvenile axe murderer seems unlikely to inspire a ballet. But the legends surrounding the late nineteenth-century murders of Lizzie Borden’s father Andrew and her stepmother, Abby persist, perhaps because Lizzie was ultimately acquitted, and no other suspect was ever identified or brought to justice.
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Cinderella Unites East and West
The National Ballet of Japan’s rendition of the Frederick Ashton classic, “Cinderella,” offers an authentic taste of English tradition, subtly flavored by Japanese aesthetics.
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Logical Progression
When Wally Cardona and Molly Lieber enter to take their places on opening night, they’re stepping into the footprints of a venerable dance legacy.
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Breaking the Waves
As October starts to draw to an end, so too does Dance Umbrella, London’s annual international dance festival. Having worked their way through the Barbican and Sadler’s Wells East, one of the final programmes is on at the Place—which has had an especially impressive Autumn season.
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Tip of the Hat
This fall, the American Ballet Theatr is celebrating its 85th anniversary by highlighting the choreographers key to the company’s history. Agnes de Mille, Antony Tudor, Frederick Ashton, Michel Fokine, Marius Petipa, George Balanchine and Alexei Ratmansky are all featured, but only Twyla Tharp got her own night.
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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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Becoming David
Who 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!
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Teenage Angst and Institutions
Watching 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,...
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The Me of Today
The 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.
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America, F**K Yeah
After 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.
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Acosta Danza’s Choreographic Soup
An “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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