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Be Like Water

REVIEWS | Par Karen Hildebrand

Be Like Water

Given the title, “Rivulets,” I’m thinking about water even before the stage lights go up. So I’m primed to view the opening tableau as a strand of bedraggled seaweed washed ashore: eight dancers, sprawled in a languid glowing heap of green, blue, and black. After a short period of stillness, the painterly tableau dissolves into distinct individuals who interact. They variously bow, lunge forward, recoil. Their heads jerk forward and yank back repeatedly. Tight turns open out, then reverse, as if tossed this way and that in the current.

Dreamy Episodes

REVIEWS | Par Candice Thompson

Dreamy Episodes

Evoking its title, Tere O’Connor’s “Rivulets” trickled through a series of dreamy episodes where movement, music, and gathering collided with a quieter sense of interiority. The world premiere at Baryshnikov Arts Center on Wednesday evening was an unfussy affair, staged in a studio with a light grid and a few rows of seating on either side of the floor. Without a discernible plot or recognizable story, the dancers communicated with one another in streams of expressive and at times, exhausting, choreography (to which they received collaborative credit).

Talking Pointes: Bronze Medal for Best Arts & Culture Podcast

TALKING POINTES | Claudia Lawson

Talking Pointes: Bronze Medal for Best Arts & Culture Podcast

We are thrilled that Talking Pointes Season One was awarded the bronze medal for Best Arts & Culture podcast at the Australian Podcast Awards on November 21, 2022. We would like to thank our whole team, including host Claudia Lawson, Output Media, Sawtooth Studios and all our wonderfully generous guests for helping to create this special podcast.

Painting the Planet: Lita and Jasmine Albuquerque

INTERVIEWS | Par Victoria Looseleaf

Painting the Planet: Lita and Jasmine Albuquerque

While the 59th edition of the Venice Biennale recently closed—and with it, Lita Albuquerque’s collateral event, “Liquid Light,” a multi-dimensional experience featuring the world premiere of a film of the same name and starring her daughter, dancer, and choreographer Jasmine Albuquerque—their filial collaboration is the continuation of a decades-long partnership that began, well, in the womb.

Daring Dances

REVIEWS | Par Merilyn Jackson

Daring Dances

Although audience members shivered in the first cold night as they entered one of Philadelphia’s finest downtown performance palaces, the Wilma Theater, Ballet X offered them a program of warm memories, thoughtful reflections and a touch of nostalgia on November 30.

Elvis Sighting at the Joyce

REVIEWS | Par Faye Arthurs

Elvis Sighting at the Joyce

Dwight Rhoden might be the only person in the world who likes a high leg as much as I do, so I have a fondness for his work. Wacked-out extensions are the defining feature of the troupe he co-directs with Desmond Richardson, the Complexions Contemporary Ballet. But aside from this undeviating, extreme pliancy, the Complexions roster is one of the most diverse groups working today in terms of race and gender, and especially size and shape. There’s Jillian Davis, who towers even on flat, at 6’2”, and whose powerful, shapely legs could’ve used a bigger stage. And then there’s Vincenzo Di...

Old Love, New Love

REVIEWS | Par Marina Harss

Old Love, New Love

Alvin Ailey American Dance Theater is once again ensconced New York City Center for its annual December season. The programs offer the usual mix of dances by Ailey, pieces by twentieth-century masters—which this year include Twyla Tharp’s “Roy’s Joys”—and new works commissioned from contemporary choreographers. And, of course, “Revelations.” At a recent performance, the patron behind me sighed unhappily upon hearing that Ailey’s 1960 masterpiece was not on the program.

Mad World

REVIEWS | Par Marina Harss

Mad World

What is it about Emanuel Gat’s “Lovetrain2020” that is so captivating? The piece, which came to the Brooklyn Academy of Music this week, is set to songs by the emo-electronica band Tears for Fears, and that is certainly part of its charm, at least for members of my generation (Generation X), which, let’s face it, constitutes a significant portion of BAM’s audience. But it’s hardly one of those jukebox medleys that basks in the beats of a previous era. Nostalgia is part, but not all, of the story.

Difficult Grace

FEATURES | Par Cecilia Whalen

Difficult Grace

Roderick George paints maps with his movement. In "asinglewordisnotenough," his body trickles like delicate tributaries then trembles as if moving over rocky terrain. His legs extend to point in all directions—north, south, east, and west—and his arms carve out pathways, inviting travelers.

Bella Lewitzky: Dance Maven and Maverick

INTERVIEWS | Par Victoria Looseleaf

Bella Lewitzky: Dance Maven and Maverick

While the intersection of film and dance has been on the rise, most recently because of the global pandemic, Los Angeles-based Bridget Murnane has been working in those two arenas for years: She was not only a professional dancer in the 1980s, having performed with, among others, Gloria Newman, but she also earned a master’s degree in dance from UCLA in 1985, where her thesis was video as a choreographic tool.

Seasons' Canon

REVIEWS | Par Rachel Howard

Seasons' Canon

I woke this morning realizing I had dreamt extensively about Crystal Pite’s “The Seasons’ Canon,” and I’d wager that anyone who saw the work on the second repertory program of Pacific Northwest Ballet’s 50th anniversary season in Seattle is still dreaming about it, too. Even viewed on screen as a digital stream, which I settled for as a distant admirer of the company (thank you, PNB, for extending your pandemic video options!), this 54-dancer spectacle leaves lingering questions. Whether those questions lead to the kind of contemplation we seek from art or send us spinning in surface ruminations is another...

Dantesque

REVIEWS | Par Marina Harss

Dantesque

Everyone knows that Sarasota Ballet is Frederick Ashton’s unlikely home-away-from-home, on the Gulf Coast of Florida. Or not so unlikely, given that it is directed by Iain Webb and his wife Margaret Barbieri, both of whom danced for the Royal Ballet in London. Barbieri, in particular, worked directly with Ashton, as well as with Kenneth MacMillan, whose ballets are also performed here. The company’s second repertory program of the 2022-2023 comprised works by both, including two early ballets seldom seen anywhere. Each is a curiosity.

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.