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Entrances and Exits
REVIEWS | Par Marina Harss

Entrances and Exits

The Indian dance company Nrityagram, which specializes in the East Indian dance form Odissi, has been a frequent visitor to New York since the nineties. Each visit has been revelatory in some way. For years that revelatory quality seemed intimately linked to the choreographic relationship between the company’s director and choreographer, Surupa Sen, and its main star, Bijayini Satpathy. The two have performed solos and duets of breathtaking beauty and complexity during which time seemed to stop, and the audience tried not to blink for fear of missing something.

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She Sang the Body Electric
REVIEWS | Par Merilyn Jackson

She Sang the Body Electric

All attitudes, all the shapeliness, all the belongings of my or your body or of any one’s body, male or female. “I Sing The Body Electric” - Walt Whitman

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New Romance
INTERVIEWS | Par Victoria Looseleaf

New Romance

Talk about a radical retelling of a classic story! In Benjamin Millepied’s “Romeo & Juliet Suite,” performed by members of LA Dance Project, the troupe he founded in 2012, there are three casts playing the title roles: a traditional heterosexual couple, two men, and two women. And, as if that weren’t a major departure from your standard issue “R & J,” this evening-length rendering has much of the action captured through projections from a Steadicam while the cast navigates myriad areas of the theater.

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Reframing American Cinema
REVIEWS | Par Cecilia Whalen

Reframing American Cinema

The set is a mid-century living room. A green lamp and a bookcase rest downstage right; a typewriter and an abacus lie upstage on a desk. Cushioned chairs sit invitingly among scattered suitcases which are stuffed to the brim, and a single wooden chair sits center. This is the opening shot of Kayla Farrish's “Put Away the Fire, dear, pt. 2,” a second draft to the dancer/choreographer's exploration of American film and archetypes, which was presented as part of the La MaMa Moves! Dance Festival in the lower east side.

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Returning Home
REVIEWS | Par Josephine Minhinnett

Returning Home

Frigid waterfalls. Fog rising in the grey of morning. Dense forest yielding to expansive lakes. These are some of the landscapes in Santee Smith's latest production “Homelands” for Kaha:wi Dance Theatre, which premiered at Toronto's Harbourfront Centre. Smith is Kahnyen’kehàka/Mohawk Nation, Turtle Clan, from Six Nations of the Grand River territory in southern Canada and since 2005, she has built her company on a repertoire of innovative multimedia and contemporary dance productions that bring Indigenous experiences and Onkwehón:we worldviews to the stage.

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Verklärte Gala
REVIEWS | Par Faye Arthurs

Verklärte Gala

Without a program, I would have confused the two premieres at the New York City Ballet’s Spring Gala. With its geometric arm motifs, calculated group patterns, and tastefully spare retro costumes, I’d have attributed “Standard Deviation” to former resident choreographer Christopher Wheeldon instead of newcomer Alysa Pires. It seemed like an outgrowth of Wheeldon’s “Mercurial Manoeuvres,” from 2000. But Wheeldon’s influence could also be felt in the energetic, shifting corps patterns of Justin Peck’s “The Times Are Racing” closer too. In fact, his presence was more palpable in these than in his own piece, “From You Within Me,” a dance...

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“Sea of Troubles” through a New Lens
INTERVIEWS | Par Rachael Moloney

“Sea of Troubles” through a New Lens

Kenneth MacMillan created the short expressionist ballet “Sea of Troubles” in the late 1980s. The work draws on Shakespeare’s play Hamlet, and its central theme is Hamlet’s mental state following the suspected murder of his father, the King. As in many of MacMillan’s creations, an exploration of darker aspects of the human psyche underpins the ballet, whose nine scenes chart Hamlet’s journey as he becomes consumed with the desire for revenge and questions about guilt, morality, death, and what is true and false.

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Room for Manoeuvre
REVIEWS | Par Victoria Looseleaf

Room for Manoeuvre

There were shots fired—blanks, of course—when the New York-based Paul Taylor Dance Company, founded in 1954, opened the 20th season of Glorya Kaufman Presents Dance at the Music Center during the last weekend of April. Indeed, in a concept program of three anti-war works, which may have looked good on paper, the program mostly misfired, none of the works more than Lauren Lovette’s world premiere, “Dreamachine.”

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Locke-step with Ligia Lewis
INTERVIEWS | Par Victoria Looseleaf

Locke-step with Ligia Lewis

As a choreographer and dancer who conceives and directs experimental performance, Dominican-born, Florida-raised Ligia Lewis is not shy about expressing her opinions, whether in an interview, on stage, or in real life. Indeed, with her most recent work, “A Plot/A Scandal,” which has its U.S. premiere in Los Angeles at the Geffen Contemporary at Museum of Contemporary Art, May 5-6, Lewis once again pulls no punches as she weaves together historical, anecdotal, political, and mythical narratives as only she can.

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A New Kind of Ballet Romance
BOOKSHELF | Par Sophie Bress

A New Kind of Ballet Romance

Thinking of a ballet-world novel, there are certain things that might come to mind: an illicit relationship between a young female dancer and a (usually significantly) older male choreographer, a backstabbing betrayal between dancers who compete for said choreographer’s attention, glass in pointe shoes as revenge . . . You know the drill. All these tropes—and more—are thrown out the window in Chloe Angyal’s debut novel, Pas de Don’t.

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Love and Loss
REVIEWS | Par Rachel Howard

Love and Loss

The final weeks of San Francisco Ballet’s ninetieth season brought a flurry of news, intrigue, and emotion. On April 20, the company announced an ambitious 2024 season, the first programmed by new artistic director Tamara Rojo. The next morning, the company dropped a bomb: executive director Danielle St.Germain had just resigned after barely a year in the job. Given that SF Ballet offered no reason for the resignation and the enthusiastic way St.Germain had positioned herself as co-leader with Rojo, speculation flew as to whether St.Germain had feuded with the board or Rojo or both. As I write this, news...

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Beneath the Surface
REVIEWS | Par Rachel Howard

Beneath the Surface

At the high point of Hope Mohr’s new hour-long “Horizon Stanzas,” the three dancers announce, in a zombie monotone, “I knew what to do now.” They crawl to the wall to scribble makeup on their faces. Then Suzette Sagisi buries her head in The Joy of Cooking and sobs about mayonnaise, Belinda He maniacally scrubs herself with a kitchen brush, and Tegan Schwab-Alavi stuffs potatoes and squash into her bra. (The vegetables keep tumbling out, making for classic slapstick.)

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Featured Reads

REVIEWS | Faye Arthurs
Lord of the Dance

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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