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Pam Tanowitz

REVIEWS | Par Madison Mainwaring

The Boy Should Always Meet the Girl

Pam Tanowitz is a choreographer of conflicted interests. “When I talk about narrative and non-narrative, I feel like I want it both ways,” she said in an interview with the Joyce Theater in 2013. She cites George Balanchine and Merce Cunningham as her two greatest influences, artists whose methods and techniques lie at opposite poles of virtually every spectrum. She comes from a background in contemporary (and mostly Cunningham) style, but says that she enjoys working in ballet. This interest has sometimes gone awry. In 2012 she presented the stuffy “Untitled (Blue Ballet)” at the Kitchen, with a cast drawn...

Madeleine Eastoe

REVIEWS | Par Gracia Haby

No Rest for the Wilis

Their cheeks had the satin frost-glow of the moon;Their eyes the fire of Sirius.They circled, and droned a monotonous tune,Abandoned to love delirious.–George Meredith, Phantasy, 1861

Tiny Slopes

REVIEWS | Par Gracia Haby

The Body Politic

(Pay attention to what it is, just as it is.)Each person is in the best seat –John Cage[note]lines 3, 31 of 2 Pages, 122 Words on Music and Dance, 1957[/note]

Jiří Kylián

REVIEWS | Par Sara Veale

Classical Cores, Modern Moves

This triple bill weaves together works by three seminal twentieth-century choreographers: Jiří Kylián, John Neumeier and William Forsythe. As critic Sarah Crompton points out in the programme notes, each of these so-called ‘modern masters’ spent the early years of his career at the Stuttgart Ballet, where a hotbed of artistic innovation bloomed under the direction of the late John Cranko, who encouraged his dancers to create their own works during his reign as director in the 1960s. Together the works on display form a splendid retrospective on the ballet scene of the late twentieth century, and mark English National Ballet’s...

Heidi Duckler Dance Theatre

REVIEWS | Par Victoria Looseleaf

Space Opera

In real estate, the prevailing axiom is “location, location, location,” with Heidi Duckler, whom the Los Angeles Times once dubbed the “reigning queen of site-specific dance,” proving the dictum formidable. Whether choreographing in and around laundromats, shuttered hospitals, bowling alleys or parking lots, Duckler continues to mine magic in her choice of venue, tapping a collective vein that, in the process, invariably unlocks complex emotions.

Chroma

REVIEWS | Par Penelope Ford

Northern Lights

When the prerecorded voice of Karen Kain announced that this year marks her tenth anniversary as artistic director of the National Ballet of Canada, the theatre burst into applause. Twice. It is no secret that the company has transformed under her watch, and the mixed winter programme suggests nothing is out of reach. The four works, spanning the balletic spectrum, highlighted the company’s range, and gave glimpses of rising stars.

Shout Out Loud

REVIEWS | Par Gracia Haby

Shout Out Loud

If Chunky Move’s “Depth of Field,” the beginning of my Dance Massive 2015 marathon, was to show me a seasonal pattern unshaped by human hand, “Meeting” revealed a pattern defined by sixty-four small-scale robots whilst “Overworld” writhed in a chaotic pattern of YouTube fragments tethered to the four elements, earth, air, fire, and water. The tenuous link between these Dance Massive performances is solely that of my own programming: one night, two performances seen back-to-back, separated by an hour, at the North Melbourne Town Hall.

Fleet Figures

REVIEWS | Par Penelope Ford

Fleet Figures

Sylvain Émard Danse of Quebec celebrates their 25th anniversary this year, with a Canadian tour of Sylvain Émard’s most recent work, “Ce n’est pas la fin du monde” (“It’s not the end of the world”). The work premiered a year ago at the Plateau d’Eysines in Bordeaux during the Danse Toujours biennial, and the company have twice since visited France to perform the piece.

Anouk van Dijk

REVIEWS | Par Gracia Haby

Field Notes

Seated in a purpose built grandstand in the formally exposed run-though of Chunky Move and Australian Centre for Contemporary Art’s forecourt, I waited. From this position, squinting into the sun, I was presented with a brilliant urban stage set. I pondered what I might have missed in a space I have only ever moved through at speed; the ‘field notes’ of author Richard Mabey came to mind:

Beauty Sleep

REVIEWS | Par Victoria Looseleaf

Beauty Sleep

Contrary to Mae West’s delicious quip, “Too much of a good thing is wonderful,” choreographer and ABT Artist in Residence, Alexei Ratmansky, whose interpretation of the iconic fairy tale landed in Orange County stuffed with ballet stars, sequins and sky-high wigs, this over-the-top world premiere is somewhat of a snooze. Blame, too, must be placed on Richard Hudson’s elaborate sets and costumes, which, although inspired by Léon Bakst’s 1921 Ballets Russes production,“The Sleeping Princess,” might be better suited to Las Vegas or Macao, where spectacle is the norm but taste is generally tossed aside.

Martha Graham Dance Company

REVIEWS | Par Madison Mainwaring

Comic Relief

Martha Graham’s legacy remains something of a problem for the company she founded in 1926, which continues performing her work today. Review after review will tell you that her seminal works feel outdated, even kitsch. Isamu Noguchi’s sets, with their mobiles and stylized sculptures, look like relics of an old avant garde. The women interpreting roles Graham originally created for herself end up looking a lot like Graham, with heavy makeup and strange, angular buns. The audience laughs at moments which are supposed to be serious, as when the “Creature of Fear” (aka the Minotaur) menaces the female version of...

Sara Mearns

REVIEWS | Par Oksana Khadarina

Mercurial Manoeuvres

“New Combinations” was an apt way to describe the outstanding triple bill that featured “Pictures at an Exhibition” by Alexei Ratmansky, “‘Rōdē,ō: Four Dance Episodes” by Justin Peck, and “Mercurial Manoeuvres” by Christopher Wheeldon. All works were specifically created for NYCB in the 21st century; all three choreographers have close artistic and collaborative ties (past and present) with the company.

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.