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Tropicalismo in White and Black
The Brazilian company, Grupo Corpo, peerless for their kaleidoscopic sets, costumes, choreography and their music, are touring the US with two reimagined works from just before Covid hit.
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A Night of Ideas
Past the Gallery Kitchen, which for tonight has become an open mic Poets Café, I swim through the swirling 100-metre-long, multi-panelled Mun-Dirra (Maningrida Fish Fence), woven by 13 Burarra women weavers, which hovers above the floor and makes the gallery a waterway.
FREE ARTICLE
Classic NYCB?
At the tail end of the New York City Ballet’s winter season, the sixth and final showing of the “Classic NYCB” program featured thrilling debuts: soloist Emma Von Enck and second-year corps de ballet member David Gabriel assumed the lead roles in Balanchine’s tricky “Ballo della Regina.”
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Moving Forward
Internationally renowned choreographer and dancer Marc Brew needs little introduction to dance aficionados.
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Martha Graham, A Life in Art
In Deborah Jowitt’s new biography of Martha Graham, Errand into the Maze, the iconic dancer and choreographer is made new, and radical, again.
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Futur(istic) Classic
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.
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A Golden Gift
As Belgian choreographer and dancer Anne Teresa De Keersmaeker approached her sixtieth birthday in 2019, she decided to gift herself a solo to the music of one of her favorite partners—Johann Sebastian Bach.
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Acts of Defiance
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.
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A Danced Legacy
A man stands on a dark box facing sideways. He gently shifts his weight from heels to toes, rocking forward and backward. His gaze remains front, but his body never lands anywhere. He is in constant motion: neither here nor there, caught somewhere in between.
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Questions that Remain
To begin her creative process, the legendary German choreographer Pina Bausch often asked her dancers questions. These questions—and further, the thoughts and deeper rumblings they provoked in the dancers—then formed the basis for many of her pieces.
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Fighting on a New Front
I woke up this morning to the tragic news of Aleksei Navalny’s death in a Russian prison, and the first thing I thought of was the ballet premiere from the night before. That’s new.
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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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