Everywhere and Ever
There was no shortage of drama and poetry this past week at San Francisco Ballet.
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Old (Creative) Habits
At 82, Twyla Tharp shows no signs of slowing down. She brought two world premieres and an all-star revival to the Joyce this week. The newest dances made it clear that although she’s still a dynamo, aging is very much on her mind. She is exploring wistful terrain these days, but she is doing it with her characteristic humor and high step count.
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Essence of the Female
Ausia Jones, who also dances with Ballet Jazz Montreal, choreographed the opening work at PennLive Arts presentation of the company’s touring show, Essence.
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For the Dance Moms
Dance has always been a part of Tammy Greenwood’s life. Growing up, she studied ballet, tap, jazz, and acrobatics, and when her daughter took up the art form, she became involved through the unwavering—and sometimes self-sacrificing—support that is often asked of a dance mom.
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Strictly Ballroom
The New York City Ballet’s excellent 2023 Fall Season featured only the works of founding choreographer George Balanchine. This winter, eight choreographers are being showcased as the company’s 75th anniversary celebration continues.
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Enlightenment
June 16, 1989. Wearing only black leggings and a pixie haircut, Molissa Fenley performed her solo, “State of Darkness,” inspired by Nijinsky’s “Le Sacre du Printemps” at the Colorado Dance Festival in Boulder.
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Germaine Acogny, The One
It was June of 1984, when the West German dance company, Tanztheater Wuppertal, under the artistic direction of Pina Bausch, made its American debut at the Pasadena Civic Auditorium.
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A Star is Reborn
It is not unusual for a New York City Ballet program to consist of two Peck ballets and a Ratmansky. But until last night, there had not been two different Pecks represented in such a scenario.
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Timeless Expression
In these fast-paced times, where we are bombarded with spectacles that compete to be flashier, more action-packed, and more hi-tech than the next, it was a joy to experience an evening of charm and timeless simplicity.
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Mere Mortals
The popular sentiment is clear: Matrix atmosphere meets ballet is a hit. “Mere Mortals,” Tamara Rojo’s first production as new artistic director at San Francisco Ballet, must be counted a success.
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Earthly Delights
Bex Anson and Dav Bernard, aka Mhz, talk about their brand new piece, “Ruins.”
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For the Soul
The name of Leonardo Sandoval and Gregory Richardson’s group, Music from the Sole, is an obvious allusion to the fact that the motor behind their performances is rhythm, and that this rhythm is often produced by the soles of the feet, in the form of tap.
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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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