World-class review of ballet and dance.
The David H. Koch Theater looked particularly festive during New York City Ballet’s winter season. Nearly 200,000 balloons of different sizes and colors, assembled in elaborate garlands and constellations—a pop art installation by the Turkish-American visual artist Jihan Zencirli (a.k.a. Geronimo)—transformed the theater’s atrium into something akin of a gigantic playground.
Plus
It seems the only way to see Shakespeare set in the Elizabethan era these days is to go to the ballet. Especially in Washington, D.C.
Plus
I don’t think I can avoid beginning this review on a personal note. I found Episcopalian Grace Cathedral at age 25, because I lived two blocks down Nob Hill and couldn’t figure out what else to do on Easter morning, never guessing I would convert and still worship at Grace 18 years later. KT Nelson, cofounder and one of two main choreographers at ODC/Dance, San Francisco’s most prominent contemporary company, found Grace via a more circuitous route. Hearing Joby Talbot’s choral score “Path of Miracles,” which dramatizes a pilgrimage along Spain’s famous Camino de Santiago, led Nelson to a five-week...
Plus
When Pina Bausch embarked on her World Cities series in the ’80s, striking up temporary residencies in locales as far-flung as São Paulo and Santiago, she sought to capture the wrenching needs, desires and fears that unite people the world over. The dance theatre works created during these sprees are searching and seductive, mingling lust and passion with darker human instincts. Some relay literal imagery and music picked up during the company’s travels, while others revel in abstraction, foregrounding sentiments inspired by their stay but only occasionally reflecting a city’s particular history and ambiance.
Plus
“Project 7,” choreographer and director Kylie Thompson revealed, was the working title of her new piece, named for the seven dancers of her eponymous pick-up company. On the meaning of the ultimate title, “33/33,” she was less forthcoming, hinting only at numerology as a driving theme. In the post-performance chat, lighting and projection designer, Simon Clemo reminded us: “Everything you need to know about the work is contained in the work,” his words and designs taking cues from the Russian avant-garde, and the Suprematism movement of 1930s.
Plus
On the face of it, these two short pieces performed by the mighty Scottish Dance Theatre have little in common. They create two very distinct worlds. Yet they both deal in disruption of form, and riff on well-known themes which touch our lives. Artistic director Fleur Darkin invites the audience to spot the link between two such disparate works, and as both pieces expand, so the similarity is revealed.
Plus
For a colourful cross-section of the UK dance scene, you can hardly do better than “Sampled.” The annual event is a glimpse into the range of productions that grace the Sadler’s Wells stage over the year, pitching ballet alongside contemporary, hip-hop, flamenco and more. With its diverse line-up and proms-style standing tickets, the show caters to the devoted and the uninitiated alike, drawing a dynamic and often chirpier-than-usual crowd.
Plus
George Balanchine created “Apollo” 90 years ago. Set to Igor Stravinsky’s score, this ballet—seminal and historic on many levels—signified a major point in development of Balanchine’s aesthetics and principles as a choreographer. “Apollo” is regarded as one of signatures of New York City Ballet.
Plus
This may be the Chinese year of the dog, but in music, 2018 is the 100th anniversary of the birth of Leonard Bernstein, the conductor, composer, pianist, lecturer, broadcaster and writer who died at age 72 in 1990. In politics, Hollywood and in some concert halls, this year is also shaping up to be the year of the woman, with marches, protests and the #MeToo movement still going strong, and the rise of the female conductor becoming, er, somewhat more apparent.
Plus
English National Ballet has launched the New Year with two double bills anchored by August Bournonville’s beloved “La Sylphide.” Over the course of a two-week run, the Romantic staple—a flutter of forest sprites and lively Highlanders—is alternately paired with Kenneth Macmillan’s “Song of the Earth” and Roland Petit’s “Le Jeune Homme et la Mort,” both of which dedicate a principal role to Death.
Plus
Has there ever been a sexier dance than the tango? From its origins in the 1880s in the River Plate, the border between Argentina and Uruguay, through the slums and bordellos to ballrooms—becoming a worldwide phenomenon during the Depression and extending far beyond the jazz era—its legacy still endures. It's simply a classic genre, because its romance, fire and passion are timeless.
PlusTwo 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.
PlusWill 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...
Plus
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).
PlusZvidance 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.
PlusCleveland 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.”
Plus