World-class review of ballet and dance.
Garth Fagan Dance should be required viewing for the human race! Yes, that’s a brash statement, but the troupe is joy made palpable, with 15 dancers bringing it all on in a six-part program seen over the weekend: Virtuosity, stamina and love of life, not to mention technique to burn, are the hallmarks of this extraordinary group—attributes much needed in today’s dark world.
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In a short interview in the program for her company's recent performances at the Joyce Theater, Pam Tanowitz speaks to her interest in eliminating elements of her dances in order to find moments of greater interest. As an aside, she says, “There's a joke in my company: don't miss a rehearsal or your quartet may become a trio.”
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In her 1978 book Illness as Metaphor, Susan Sontag examined how diseases become “awash in significance.” “Nothing is more punitive,” she wrote, “than to give a disease a meaning—that meaning being invariably a moralistic one.” Sontag identified tuberculosis and cancer as two diseases that have moralistic meanings. In 1989, Sontag added AIDS to this list. “The sexual transmission of this illness,” she wrote in AIDS and Its Metaphors,” is “considered by most people as a calamity one brings on oneself.” It is, therefore, “judged more harshly than other means—especially since AIDS is understood as a disease not only of sexual...
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London’s the Place has been running its Resolution Festival for more than 25 years. The annual showcase, which presents a spate of new dance works throughout January and February, is a boon for emerging artists: along with a performance platform, the dancemakers who participate receive professional support and guidance throughout the production process—a valuable leg up in a dance scene as competitive as London’s. The festival’s track record for launching famous faces is another draw: some of the biggest names in contemporary British dance, including Wayne McGregor and Hofesh Shechter, got their start on the Resolution stage.
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Do you recall seeing your first ballet? No, says Francesco Gabriele Frola, first soloist with the National Ballet of Canada, but he does recall the first one he was in. “Every time my mother danced “La fille mal gardée,” she was pregnant,” he says. With two brothers and a sister, “after four times, she had enough,” he laughs.
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After taking her final bows as Juliet at the Metropolitan Opera House with American Ballet Theater in June of 2007, Alessandra Ferri may have left the storied company she had danced with since 1985, but, as she said in a recent phone interview from her home in Manhattan, she certainly did not retire.
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George Balanchine’s “Ballo della Regina” and “Kammermusik No. 2” were created approximately at the same time and premiered by New York City Ballet in January 1978. Both pieces are concise and small in scale; both are fascinating and unique; yet neither belongs to the pantheon of Balanchine’s greatest creations. Nevertheless, each ballet, precious in its own way, adds to our understanding and appreciation of the craft of the great ballet master. Dance critic Arlene Croce aptly summed up her attraction to “Ballo della Regina” in particular—and to a Balanchine ballet in general—simply and clearly: “Who cares if it isn’t great?...
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Fleur Darkin's brilliant Scottish Dance Theatre are like chameleons, or shape-shifters: endlessly versatile. Anton Lachky's utterly demented “Dreamers” is a study in waving your freak flag high. Everyone in the ensemble of ten gets a chance to shine. Soloists 'nominate' their dancer of choice, and their improvisational style is as individual as a fingerprint.
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In the programme notes for “…como el musguito en la piedra, ay si si si...” (“Like moss on a stone”), Pina Bausch’s final work before her sudden, unexpected death in 2009, dance writer Sarah Crompton insists the piece is “open to infinite interpretation,” that “[nothing] should be seen as explicit,” even the apparent allusions to Chile, where the German choreographer’s troupe took up temporary residence and conceived it as part of its famous World Cities series. Categorical interpretations might be off the table, but an abstract spirit of voyage and discovery does seem to infuse “Como el musguito,” inserting itself,...
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A dance of transcendent beauty, “Mozartiana,” set to the musical suite of the same title by Tchaikovsky, was George Balanchine’s final masterpiece. The ballet was created for Suzanne Farrell, his last and greatest muse; in a way “Mozartiana” was his farewell gift to her. Choreographed in 1981 to commence the New York City Ballet Tchaikovsky Festival, this ballet was also a heartfelt homage to Tchaikovsky himself, whom Balanchine all his life regarded as a mentor and inspiration. “Balanchine at the age of seventy-seven had given us a vision of heaven as he interpreted it from the Lord’s Prayer, ‘on earth...
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True to its mission of being an artistic collective, and loosely based on the principles of Diaghilev’s Ballets Russes, where great talents of the day were brought together to collaborate, L.A. Dance Project, founded in 2012 by Benjamin Millepied and a core group of artists, composers and designers, is proving its mettle. In its debut at the Wallis (a beautiful, intimate space for dance and an excellent fit for the nine-member company), the troupe brought two tried-and-tested goodies, and one U.S. debut that was breathtaking in its choreographic detail and jaw dropping in scope and execution.
PlusWatching 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,...
PlusThe 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.
PlusAfter 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.
PlusAn “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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