Piece by Piece
Like two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
PlusWorld-class review of ballet and dance.
American Ballet Theatre’s fall season has been brief, too brief to form a sense of the new director Susan Jaffe’s tastes and intentions. That will come in time. This fall, we got a roundup of some of the company’s past repertory, from Balanchine’s 1941 “Ballet Imperial” to last year’s “Single Eye,” by the San Francisco-based Alonzo King. In the final program of the season, which ended on Oct. 29, the latter was paired with Alexei Ratmansky’s 2009 “On the Dnipro,” the first work for the company by its former choreographer in residence. Between the two, almost as a palate cleanser, came a short pas de deux by Gemma Bond, set to a rapturous aria from Gustave Charpentier’s opera “Louise.” I caught two performances, on Oct. 27 and at the Oct. 29 matinee.
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Like two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Plus“I can’t even stand it,” exclaimed Tina Finkelman Berkett about the Perenchio Foundation grant that her dance troupe, BodyTraffic, recently received.
PlusBeneath a tree also over a century old is where I meet dancer and artist Eileen Kramer, and where the 60-minute loop will end. And it feels fitting, on the heels of her recent death on November 15, 2024, at 110-years-of-age, to start here, at effectively the end of Sue Healey’s screening of On View: Icons.
FREE ARTICLEHubbard Street Dance Chicago’s Fall Series will entertain you. Deftly curated, with choreographers ranging from Aszure Barton to Bob Fosse, Hubbard’s dancers ably morph through this riveting programme of showmanship.
FREE ARTICLE
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