Momentum
“This is historical,” Ballet22 co-founder Theresa Knudson told the audience between works on the company’s latest program, “Momentum.”
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Vignettes of 50 years
Pilobolus has become synonymous with pushing boundaries, both in the physical and the thematic. The company’s run at New York City’s Joyce Theater, which culminated their Big Five-OH! Tour—a belated-by-Covid celebration of the company’s 50th anniversary—was a reaffirmation of this mission.
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Relative Calm
Lucinda Childs/Robert Wilson's “Relative Calm” (1981/2022) opened the six-week long ImpulsTanz Vienna International Dance Festival in its the 40th anniversary on July 7 at Vienna's Volkstheater.
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High Concepts and Power Moves
There is packaging, topicality, grand themes, elaborate stage designs, high concepts. And then there are moments when the flesh and blood power of dance itself—the presence of a lone body channeling transcendent purpose—leaves you reeling.
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Finding Community
Community was a common theme in the Summer Sampler presented by ODC/Dance in July, with premieres by Dexandro Montalvo and Sonya Delwaide, along with recent work of company founders Brenda Way and Kimi Okada.
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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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Dança! At the Hollywood Bowl
With the spate of great dance in Los Angeles this summer—from Oguri’s “dance comes out of time,” to Dutch National Ballet’s “Frida,” choreographed by Annabelle Lopez Ochoa, and with a sumptuous commissioned score by Peter Salem (performed live, no less)—it was a family affair when the Brazilian dance troupe, Grupo Corpo, rocked the Hollywood Bowl last week, the heat coming from more than climate change.
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The Tokyo Ballet's “Giselle”
When Théophile Gautier abandoned himself to “that misty, nocturnal poetry, that fantasmagoria” he found within the lines of Heinrich Heine, the familiar legend of “Giselle,” the ballet, began to take shape.
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Looking for Juan
The crowd of museum goers gathers around from multiple vantage points above and around the tiled, skylit courtyard of the Metropolitan Museum’s Robert Lehman Wing to view the dance performance.
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Mexicanismo
Teeming with riotous colors, an exhilarating original score, and dancing of the highest, indeed, most glorious order, “Frida,” performed by Dutch National Ballet and choreographed by the insightful Annabelle Lopez Ochoa, not only proves that story ballet is alive and well, but can also be told in new and ingenious ways.
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Bet the House on Ballet X
Nicolo Fonte’s choreography first appeared on my radar when Aspen Santa Fe Ballet gave his “In Hidden Seconds” its Philadelphia premier in 2010.
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Spellbound
Two performers crawl in on hands and knees wearing neon green, hooded coveralls—the lightweight papery kind made for working in a sterile environment—and clusters of balloons pinned to their backs.
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Green Light
Will Rawls makes boundaries visible by defying them. Known for the disciplinary and topical range of his projects, the choreographer, director, and performer approaches issues of representation in “[siccer],” a multi-part, multi-site work co-presented by L’Alliance New York’s Crossing the Line Festival. A live performance at Performance Space New York...
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It is always interesting when multiple theme steps emerge over the course of a mixed repertory evening, but it is uncanny on one featuring five different ballets, each with a different choreographer and composer, covering a twenty-year span (2005-2025).
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Of Dandelions and Resilience
Zvidance premiered its new work “Dandelion” mid-November at New York Live Arts. Founded by Zvi Gotheiner in 1989, Zvidance has been a steady presence in the New York contemporary dance scene, a reliable source of compositional integrity, and a magnet for wonderful dancers.
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The Music Within
Cleveland native Dianne McIntrye received a hometown hero's welcome during her curtain speech prior to her eponymous dance group thrilling the audience in her latest work, “In the Same Tongue.”
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