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Fury and Solitude
This provocative double bill showcases contrasting approaches to the body, and perceptions of how and why they take up and transform the space. It's also a meditation on art as an act of resistance, a form of political liberation.
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Melanie Hamrick’s Next Chapter
During her 15 years dancing with American Ballet Theatre, Melanie Hamrick always brought a book to rehearsal. “Sometimes if it wasn’t my cast—and because I’d done “Swan Lake” so many times—I’d try to sneak a book in my lap,” she remembers.
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Sticking Together
The Pilobolus troupe took over the Joyce Theater for three weeks this August with a rotating pair of programs: one was called “Dreams,” the other, “Memory.” Both titles were good catchalls for the company’s signature brand of surrealist, muscular theatricality.
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All Together Now
A unique cooperation by New York City’s five largest dance companies, BAAND Together Dance Festival was conceived as an effort to restart live dance performance after the pandemic.
FREE ARTICLE
Beethoven, Boots and Cats
Bookending my first day at the Edinburgh Festival are two very different but beautiful performances at the wonderful Dance Base venue in the Grassmarket, Matthew Hawkins’s “Ready” and Christine Thynne and Robbie Synge’s “These Mechanisms.”
FREE ARTICLE
Dance of Joy
Bharatanatyam soloist, Christopher Gurusamy, describes his practice as purely based on his traditional dance training, Bharatanatyam, an Indian classical dance that originated in the Hindu temples of Tamil Nadu in southern India.
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By the Water
On a sultry day like this, it might be easy to imagine we’re somewhere in the south, rather than the urban confines of Hearst Plaza, where a small group has gathered, curious about a free event. We’re not quite sure where to sit.
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A Metamorphosis of Meaning
One night, three premieres, and a mixture of tradition and originality. Queensland Ballet’s “Bespoke” presented new works that playfully experimented with the classical technique in a contemporary setting.
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Don't Look TooGood
When viewing a work by Pam Tanowitz, it pays to look closely. Beyond the precision and fleet feet of her Cunningham-trained dancers, there is often another layer to discover. She refers to pre-existing works of art and literature (recently T. S. Eliot’s “Four Quartets” and the biblical Song of Solomon) using movement to reveal and remix their elements.
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Touch the Sublime
The crowning ornament of Lincoln Center’s India Week was the collaborative creation and performance of “Samsara” by Aakash Odedra and Hu Shenyuan. India Week, the weeklong summer curation of events celebrating India’s culture, elevated the concept of performing arts with this journey to the sublime.
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Featured Reads
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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