A Moving Feat
Époustouflant! Indeed, breathtaking is the word for Diavolo|Architecture in Motion’s world premiere, “Existencia,” the 70-minute commissioned work seen at the Soraya for two performances in mid-January.
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Celebrating Process
Works & Process has been part of the New York dance ecosystem for 35 years—championing performing artists and supporting their creative process from studio to stage and beyond.
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Blossoming
How does a gifted choreographer become an artist? I thought about this question a lot after seeing “Blooming Flowers and the Full Moon,” former ODC/Dance member Natasha Adorlee’s first full-length piece.
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Where the Road Leads
Days away from presenting and performing in her own company’s first full-length ballet, Alina Cojocaru is at the height of her powers. And what powers they are.
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Breaking Free
“There will be blood,” says Jacques Heim, founder and creative director behind Diavolo|Architecture in Motion, the hyperphysical dance company he began in 1992. But he wasn’t referring to the Daniel Day-Lewis saga directed by P.T. Anderson, but rather to his latest opus, “Existencia,” which has its world premiere at the Younes and Soraya Nazarian Center for the Performing Arts (the Soraya), January 17 and 19, and involves an extreme, risk-taking movement vocabulary.
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A Hero's Journey
Some stories take hold of you and just will not let go. The film Call Me Dancer tells such a story—the true-life story of Manish Chauhan, a Mumbai street dancer, who nurtures the dream of becoming a ballet professional against daunting odds.
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Screen Time
Ever since Thomas Edison hand-tinted the swirling skirts of modern dance pioneer Loïe Fuller in the film version of the 1905, Danse Serpentine, there’s been an interest in capturing this most ethereal art form on celluloid.
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Off Broadway and Onscreen
I was nowhere near the Theater District last week, yet I saw a variety of Broadway-inspired dancing.
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Team Spirit
Packing 31 performances into just over two weeks, San Francisco Ballet’s “Nutcracker” season is a grueling marathon for the corps dancers, and at the same time a field of opportunity for rising talents.
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End of an Era
“Love and Legacy”—a fitting title to honour the end of Li Cunxin’s tenure as artistic director at Queensland Ballet.
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Big Bird
It may be unusual to imagine an ostrich in New York City, but it's certainly not unbelievable. New York's not all pigeons and rats.
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Holiday Gifting
“Century,” Amy Hall Garner’s joyful new work for the Alvin Ailey American Dance Theater, was crafted as a present for her grandfather on the eve of his 100th birthday. Such a personal gesture is unusual for a guest choreographer, but birthday ballets are certainly not out of place at the AAADT.
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Firebird Rising
Long before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
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Rare Birds
It is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
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Jack of Hearts
As the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
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School Report
One of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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