Numbers Game
Almost mirroring the geopolitical situation, contemporary dance in the West—already in the USA and soon in Europe—is showing signs of wear and tear, if not decline.
Plus
World-class review of ballet and dance.
Mesmerizing to watch? Or commentary on life versus machine? The program performed by Lyon Opera Ballet at New York’s City Center is both. Merce Cunningham’s “Biped” (1999) features a double cast—one of human dancers, and another of computer generated figures. In “Mycelium” (2023), Christos Papadopoulos animates a regenerative root-like network of fungi as a meditation on symbiosis. Born 63 years apart, the two choreographers represent different eras, countries of origin, and movement styles. And yet these two works, presented as part of the Dance Reflections Festival by Van Cleef & Arpels, share much common ground.
Performance
Place
Words
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
Already a paid subscriber? Login
Almost mirroring the geopolitical situation, contemporary dance in the West—already in the USA and soon in Europe—is showing signs of wear and tear, if not decline.
PlusRudolf Nureyev’s “Romeo and Juliet” is built with a finely calibrated balance of choreographic structure, theatrical intelligence, and historical awareness.
Plus“Too much sanity may be madness!” Carlos Acosta’s “Don Quixote” revival is proudly, fittingly quixotic—a confetti cannon of cheerful characterisations and vibrant visuals that culminate in an actual confetti cannon.
PlusAs a journalist and critic, I am often privy to an artist’s process before viewing their work. This insight pays off as an audience member, offering new ways of allowing a piece to come to life before my eyes.
Plus
comments