One Thousand Pieces
Reading up on the backstory of how Alejandro Cerrudo’s “One Thousand Pieces” finally made it to the stage at Pacific Northwest Ballet, one is struck by the epic commitment the company lavished upon an epically scaled dance.
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Baroque ‘n’ Roll
Created by Scottish Dance Theatre’s artistic director Joan Cleville, and filmed in one long, continuous take by digital artist Tao-Anas Le Thanh, “The Life and Times” is inspired by amongst other Baroque works, the Diego Velazquez’s painting, Las Meninas, which invites the viewer to observe the painter in his studio, flanked by a group of sumptuously attired models.
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Masterful Moves
Doug Varone is known for the masterful way he moves groups of people around onstage, yet he may have outdone himself in his latest work, “To My Arms/Restore.”
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Airborne
There's an almost disarming delicacy to Curious Seed's work, as evinced by this beautiful, Herald Angel Award-winning production, “And The Birds Did Sing” Christine Devaney, dancing solo for the entire forty-minutes long duration, infuses so much raw emotion into even her micro gestures, that it's deeply heartfelt and moving.
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Godless in Illinoise
I went to see “Illinoise” on its last day at the Park Avenue Armory. The Justin Peck production was already set to move to Broadway, and Sufjan Stevens fans were already ecstatic: the singer-songwriter’s deeply felt, ingeniously conceived 2005 album Illinois is not only the impetus and origin of the Peck dancical but also its libretto and score, with a group of wondrous winged singers and multi-instrumental musicians scaffolded above the stage performing the album in its overwhelming entirety, though re-arranged a bit and shuffled.
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A Parisian Dream
A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
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Sparks Flew
Entering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music.
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Disrupting Harm in Dance
In her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
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It’s All About Love
Six dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
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What the World Needs Now
Mark Morris's “The Look of Love” begins with praise. Dancers stand in a circle facing inward with clasped hands and chests lifted as Burt Bacharach's “What the World Needs Now” resonates in the theatre.
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Precarious Movements
If you believe, you can make yourself into Cerberus the three-headed dog-like monster, who guards the third circle of Hell, the circle of the gluttons, by buttoning together a couple of oversized shirts, and sitting together with two other people, in a huddle on the floor.
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Down the Rabbit Hole
It is a kaleidoscope of references, a whirligig of Alices, I carry with me to the third Melbourne season of Christopher Wheeldon’s “Alice’s Adventures in Wonderland,” presented by the Australian Ballet, at the State Theatre in Melbourne.
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Teenage Angst and Institutions
Watching 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,...
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The Me of Today
The 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.
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America, F**K Yeah
After 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.
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Acosta Danza’s Choreographic Soup
An “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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