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Art Meets City
REVIEWS | Par Faye Arthurs

Art Meets City

I will see anything with the choreographer Kyle Abraham’s name attached to it, and so I attended the premiere of “Reunions”—a free, outdoor dance festival set on a makeshift stage squeezed between the edge of the Paul Milstein Pool and Hearst Plaza at Lincoln Center. That Abraham’s name was attached was pretty much all I knew going in. He curated the program, which consisted of new works made by alumni from his company, A.I.M. It is rare, as a reviewer, to have so little foreknowledge of an assignment. And it was more mysterious yet when I arrived to check in...

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Into the Wild
INTERVIEWS | Par Lorna Irvine

Into the Wild

Dancer, choreographer and musician Mavin Khoo's career straddles many disciplines, from Bharatanatyam (he is a leading soloist in the artform) and Odissi, to classical dance, and Cunningham technique at the Cunningham Studios, New York. He has worked with Wayne McGregor, Christopher Bannerman and most recently, has become the coach and creative associate to Akram Khan as part of the prestigious Akram Khan Company. Lorna Irvine caught up with him ahead of the live performance of “Jungle Book reimagined” at Edinburgh Festival Theatre as part of Edinburgh International Festival in August 25-28, 2022.

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In the Night
REVIEWS | Par Rachel Howard

In the Night

That eerie post-Covid time warp—are we moving forward or stuck in a loop?—prevailed on a windy summer night as former San Francisco Ballet artistic director Helgi Tomasson took the stage of Stanford University’s Frost Amphitheater and explained that the program would begin with his old staple set to Bach keyboard works, “7 for Eight.”

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Booksmart
REVIEWS | Par Victoria Looseleaf

Booksmart

While books are being banned and burned in the States, and the political climate continues to roil, one can take solace in art. Especially the art of Butoh master and Los Angeles treasure, Japanese rice-farmer-turned-dancer Oguri, who’s been making dances in Southern California since 1990. And what dances they are: From site-specific work that has included the phenom exploring the connection between humans and the Getty Center’s architectural environment, to his ongoing series, “Flower of the Season,” in which he tackles subjects as diverse as Ikebana, the Japanese art of flower arranging, to “Caddy! Caddy! Caddy!” inspired by William Faulkner’s...

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Paul Taylor Forever
FEATURES | Par Apollinaire Scherr

Paul Taylor Forever

Paul Taylor’s early dances—confined to a handful of players whom he still couldn’t afford to pay—fit comfortably on the Joyce stage this June in the troupe’s first independent outing since the pandemic. (In March, the company appeared under the auspices of the City Center Dance Festival.) “Events II” (1957), three solos from “Images and Reflections” (1958), “Fibers” (1961), and “Tracer” (1962) also fit their long-ago moment and its strict avant-garde. But what they didn’t fit was the oft-told tale of how Taylor got from obscure beginnings to popular success.

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How It Started, How It’s Going
REVIEWS | Par Candice Thompson

How It Started, How It’s Going

In the archives at Jacob’s Pillow a 1948 video of Talley Beatty performing “Mourner’s Bench,” plays on a loop. In the space of a couple minutes, Beatty moves fluidly through wave-like motions, contracting and extending his body with a coiled intensity searching for release. The black and white footage is silent and flickering, and it is difficult to make out the expression on his face. Watching it over and over, I am struck by how Beatty continues to rise up with a Phoenix-like quality, eventually lifting up so much he executes a precarious one leg balance and promenade on top...

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Down to Earth
REVIEWS | Par Karen Greenspan

Down to Earth

The Vertigo Dance Company from Israel performed "One. One & One"─a work of incisive sensitivity and raw physicality at PS 21 (Performance Spaces for the 21st Century). Just a 3-hour drive north of New York City, the expansive conservancy with its singular, open-air pavilion theater is arguably the most perfect space to experience Vertigo’s earthy masterpiece. The 300-seat, open-air, state-of-the-art theater sits at the apex of a 100-acre preserve of apple orchards, meadows, and woodlands with trails. As the drama of sunset over New York’s verdant Hudson Valley played out in full view, the spectacle of Vertigo’s nine amazing dancers...

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From Verona to Venice
FEATURES | Par Valentina Bonelli

From Verona to Venice

In very hot Italian summer, travelling between Verona and Venice could reveal the tastes and manias of “the beautiful country” in the field of dance. In Verona, stormed by tourists this year more than ever, dance has a great tradition, as this writer remembers looking back at her childhood. At the Arena di Verona, you could admire the best of the then international dance scene, such as Maurice Béjart’s Ballet du XXème Siècle or classic ballets with stars like Rudolf Nureyev and Carla Fracci, Vladimir Vasiliev and Ekaterina Maximova, while at Teatro Romano more contemporary programs introduced companies such as...

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Bright Colours
FEATURES | REVIEWS | Par Veronica Posth

Bright Colours

The international dance festival Colours in Stuttgart is a fairly young endeavour. Commencing in 2015, it repeated every two years through 2019 and restarted this year with a grand program. Launched by Eric Gauthier together with Claudia Bauer and Meinrad Huber, the festival has received international acclaim since its conception. As often dance festivals do, it brings together dance professionals, amateurs and enthusiasts in a friendly environment where it’s possible to relish in a vibrant and colourful atmosphere. 

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Veiled Anonymity
REVIEWS | Par Madelyn Coupe

Veiled Anonymity

Once a year, Queensland Ballet stages “Bespoke,” the company’s main contemporary program. It presents three new works created by three different choreographers that experiment with the creative process. “Bespoke” holds a unique place in Queensland Ballet’s season. It acts as a platform that exposes audiences to a wider variety of works (ones that are not just classical). More importantly, however, it also allows us to witness the wide spectrum of abilities the company dancers have to offer—abilities that are, sometimes, overlooked when staging more traditional productions.

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Dancing under the Stars
REVIEWS | Par Victoria Looseleaf

Dancing under the Stars

For performing arts aficionados, summer in Los Angeles can mean only one thing: wining and dining under the stars at the iconic Hollywood Bowl, where a ticket can still be snagged for—yes—a buck. Currently celebrating its 100-year anniversary, the outdoor venue and summer home to the Los Angeles Philharmonic, with its 1927 Lloyd Wright-designed shell that has since undergone several incarnations, has been the backdrop for boldfaced names of all stripes.

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Through dance history, finding my own
FEATURES | Par Sophie Bress

Through dance history, finding my own

“Confidence, Sophie. You need to work on your confidence.” That’s the voice of every dance teacher I’ve ever had, a cacophony of mental noise as I hastily pack my things for my morning contemporary class at Jacob’s Pillow Dance Festival. I’ve never been to the Pillow before, despite reading about it every year since about age 12, when I learned what it was. Growing up dancing in Wyoming, and then moving to California to continue studying dance in college, I’ve always been on the wrong side of the country. This year, though, I’m finally in the right place at the...

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Featured Reads

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.

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