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Identity Questions

INTERVIEWS | Par Penelope Ford

Identity Questions

Choreographer and dancer Victoria Chiu is a Melbourne girl. She doesn’t speak a Chinese language and the closest thing she has to a Chinese cultural ritual, she says, is the odd weekend yum cha session. Nonetheless, the question she is often asked, do you speak Chinese? forms the basis of her new work. Developed in collaboration with dancer Kristina Chan, “Do You Speak Chinese?” explores the many ways our bodies speak for us, often before we’ve even had a chance to open our mouths.

K-Arts Dance Company

REVIEWS | Par Sara Veale

A Warm Welcome

Gymnastics, silk fans, cups of tea, creepy masks—there's a slight whiff of performance art to this eclectic triple bill, which marks the first ever UK performance for K-Arts Dance Company, the Korean National University of Arts' resident professional troupe. The approach is more playful than pretentious: you get the sense there's an implicit wink accompanying the antics here, one that invites the odd laugh and seeks to endear rather than distance the audience.

Laurel Jenkins

REVIEWS | Par Victoria Looseleaf

Small Steps Giant Leaps

Los Angeles, a town that loves the business of movies, television, pop music—and now art, with high-end galleries and museums flourishing—has a reputation for being notoriously inhospitable to homegrown concert dance. Presenters and venues are sorely lacking, and, indeed, the paper of record, the Los Angeles Times, rarely covers the local dance scene anymore.

Richard Alston Dance Company

REVIEWS | Par Sara Veale

Facing the Music

Music rarely takes a backseat to choreography for Richard Alston. The choreographer—a staple to Britain's modern dance scene and artistic director of Richard Alston Dance Company—is well known for crafting a symbiotic relationship between song and dance, his rep full of pieces in which these elements drink from and breathe life into one another in equal measure.

Mariinsky Ballet

REVIEWS | Par Oksana Khadarina

Chopin: Dances for Piano

The Mariinsky Ballet’s program, “Chopin: Dances for Piano,” which concluded the company’s season at the Brooklyn Academy of Music in New York, offered a sampler of three ballets, all set to Chopin’s piano music and created in different time periods: Michel Fokine’s “Chopiniana” (1908), Benjamin Millepied’s “Without” (2011) and Jerome Robbins’ “In the Night” (1970).

Mariinsky Ballet Swan Lake

REVIEWS | Par Oksana Khadarina

Swan Queen

A performance of “Swan Lake” by the Mariinsky Ballet is always an event in its own right. For 120 years this ballet has been a permanent fixture of the company’s repertory and a box-office magnet—the embodiment of the Mariinsky’s unique brand and style.

Louise Lecavalier

REVIEWS | Par Victoria Looseleaf

Electric Blue

Louise Lecavalier, erstwhile muse and star dancer of Édouard Lock’s Montréal-based troupe, La La La Human Steps from 1981 to 1999, rocks a hoodie and workout pants like nobody else. And while her expressive face and fastidious technique were the ideal vessel for Locke’s quicksilver choreographic vocabulary—her signature air pirouettes gasp-worthy—Lecavalier, now an astonishing 56 and mother to 12-year old twin girls and still a hoofing tsunami, has also thrown her chapeau into the choreography ring. (The Montreal native founded her own troupe,Fou Glorieux, in 2006.)

Sylvie Guillem

REVIEWS | Par Sara Veale

From Glitz to Grit

Looking back, 2014 felt like a bumper year for dance, bringing with it a bevy of exceptional premieres and revivals alike. There were glittering fairy-tale ballets and gritty social dramas, cracking debuts and bittersweet final bows. As ever, there was grace in spades, but at the same time it seems the athleticism of the stage has never been greater, particularly on the ballet side of things, where precarious lifts are now king and 180-plus degree extensions the rule and not the exception.

All that Glitters

REVIEWS | Par Gracia Haby

All that Glitters

Before a new year is ushered in with fireworks and resolutions, there is just enough time to reflect on what has been, and prepare a list of dance highlights from 2014. The only trouble being, it quickly transpires, I am no good at list making. Some may rank higher, but all offered something; all enabled me to feel. My belief that you cannot see a work unfold without finding some gem to pocket was not tested this year, and so ‘if you look, you will find’ remains my unchallenged maxim.

Ros Warby

REVIEWS | Par Gracia Haby

Ros Warby Returns

“The spaces we inhabit can frame our experience. How we see, and relate to each other and the world, inspire what we imagine, create, build and destroy. Hierarchies exist, however small, and we navigate them daily. And the body seems to tell all.” –Ros Warby[note]Ros Warby, “Tower Suites: Artistic Note,” Ros Warby website.[/note]

Recovery

REVIEWS | Par Gracia Haby

Recovery

In the yawning space of the machine hall, we assembled. A small group of mourners cloaked in suitable attire, our number countable upon my fingers, no need for the toes. We came in pairs to “Recovery,” to a space formally the domain of pigeons and vandals, to witness “a delicate duel with time.”[note]Nat Cursio and Shannon Bott, Artists' statement “About the work,” Nat Cursio website, 2014.[/note] I brought with me my curiosity and an expectation to become unmoored.

Akram Khan and Sylvie Guillem

REVIEWS | Par Sara Veale

Dancers in Dialogue

When it was conceived in 2006, “Sacred Monsters” marked Sylvie Guillem's transition from the classical scene to the contemporary one—an intriguing development that had the famed ballerina's fans on the edge of their seats, eager to witness what turned out to be an inspired reformation. This revival, however, speaks to a less celebratory event: Guillem's impending departure from the stage altogether. (Her final performances have been announced for May 2015.) A full house showed up last week to watch the piece, which takes its title from an old French nickname for the biggest icons of the theatre and also features...

Featured Reads

REVIEWS | Lorna Irvine

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,...

INTERVIEWS | Marina Harss

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.

Starry Nights

REVIEWS | Rachel Howard

Starry Nights

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.

REVIEWS | Faye Arthurs

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.

REVIEWS | Emily May

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.