World-class review of ballet and dance.
Cathy Weis’ SoHo loft is haunted. This is not because of the skeleton that dangles on the wall, or the iron hand that floats ominously above the piano. 537 Broadway—or Weis Acres, as the multi-media artist Weis dubs it—is enchanted by spirits of artists and eccentrics past.
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Success, as so many artists know, can be a devilishly mixed blessing. On the San Francisco Bay Area’s aerial dance scene, which counts site-specific innovators Joanna Haigood and Jo Kreiter among its many notables, the company formerly known as Project Bandaloop has long attracted national attention for dances that scale Seattle’s Space Needle, or rappel down a 2500-foot-high rock face in Yosemite.
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Oliver Savariego presents a collage of parts still moving, and perhaps ever destined to always be so, in a new solo work-in-progress, “Slapdash,” at the conclusion of his Front Studio Residency at Temperance Hall.
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I was first introduced to the work of Margot Gelber when she submitted a film she choreographed and directed to Dare to Dance in Public Film Festival (D2D), the LA based, international Dance Film Festival that I founded.
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Every year since 1881 in the forests of northern California, a secretive club of male elites in the world of politics, finance, and culture gather to burn an effigy in front of a giant statue of an owl in order to leave behind the worries of the past.
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Men: You can’t live with ‘em, and you can’t let ‘em die! Seriously, “Giselle,” the über-Romantic dance that premiered in Paris in 1841 and was the peak of the pre-Tchaikovsky ballets (before, for example, “Swan Lake”), was first presented by Los Angeles Ballet in its fifth season.
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What gives a dance staying power? What makes any work of art continue to be relevant over time? These are questions I pondered while revisiting Andrea Miller’s “Blush,” performed by her company, Gallim, at 92NY’s Harkness Mainstage Series this spring.
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Asami Maki’s 2004 reworking of Marius Pepita’s “Raymonda” for the National Ballet of Japan dials up the wow-factor at every level.
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You can hear it before you see it. The sound of chatter, sneakers squeaking against the floor, the booming DJs reverberating through space.
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The New York City Ballet’s orchestra tackled two new pieces at this year’s Spring Gala: Edouard Lalo’s “Symphonie Espagnole,” with the star violinist Hilary Hahn debuting alongside them in the pit—her first time ever performing while submerged in subterranean darkness—and the Rolling Stones’ “Satisfaction.”
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In October 1942, within four days of one another, two Douglas Dunns entered the world—one in Scotland, one in California.
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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.
PlusLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
PlusIt is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
PlusAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
PlusOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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