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William Forsythe
REVIEWS | Par Sara Veale

Confident and Composed

As a dancemaker, William Forsythe is often described in brassy terms: a neoclassical powerhouse, a rule-breaker who deconstructs classical ballet and flips it on its head. He’s known for his ultra-modern choreography and penchant for friskiness, both of which fuel his latest work, though not in the in-your-face way you might think. “A Quiet Evening of Dance” explores the calm side of mighty, the dynamism that comes with confident, composed choreography and performance.

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Germaine Acogny
REVIEWS | Par Victoria Looseleaf

Chosen One

At 74, Germaine Acogny, the Paris-based, Sénégalese matriarch of contemporary African dance, still has the power to astonish, making the solo, “Mon Élue Noire” (My Black Chosen One): Sacre #2,” choreographed for her by Ballet du Nord director, Olivier Dubois in 2015 and set to Stravinsky’s musical shocker, “Le sacre du printemps,” equally electrifying—and surprisingly relevant. From the score’s hauntingly familiar solo bassoon opening to the closing chord, which Stravinsky himself disparagingly referred to as “a noise,” this dance, first choreographed by Nijinsky in 1913 for the Ballets Russes and tackled by scads of terpsichores since, jolts with a singularity...

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Queensland Ballet
REVIEWS | Par Gracia Haby

But a Dream

As soft as a white rabbit’s fur: Edwin Landseer’s Scene from A Midsummer Night’s Dream. Titania and Bottom (1848–51). In a down of fur, the painting hanging in the National Gallery of Victoria depicts Titania, the Queen of the Fairies, besotted with Bottom, who has recently been reshaped into an ass, from William Shakespeare’s comedy of misplacement. A fairy queen and an ass, two of opposite realms entwined and for all to see in the fairy dell, accompanied by the requisite fairy folk and white rabbits. In an engraving of Titania and Bottom by Henry Fuseli they too, are encircled by...

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Skeleton Song
DANCE FILM | Par Penelope Ford

Skeleton Song

“Skeleton Song,” by UK-based singer and composer Ana Silvera, is the second song from her BASCA-nominated song-cycle Oracles, released by Gearbox records. Written following an intense period of grief, Oracles was Silvera’s way to transmute her emotions into a cathartic work of art: “I wrote Oracles in a state of absolute urgency and emergency—it felt like I had been buried in the ground myself, and writing this music was a small pocket of air, my chance to breathe again,” Silvera notes. The dance film/video clip was a unique collaboration between Kate Church (dancer, director, choreography) and  Alice Williamson (co-direction, costume and choreography), shot by DOP...

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RED
REVIEWS | Par Lorna Irvine

Dance as Revolution

This Scottish debut, fusing documentary with performance, is at once a celebration of feminine power, and deconstruction of the “model” ballets performed around the time of China's Cultural Revolution. Beijing-based choreographer Wen Hui, formed Living Dance Studio with filmmaker Wu Wenguang in 1994, becoming China's first independent dance theatre company. And this witty and inventive study of both the implications of the Communist regime, and what is expected of female dancers, is also incredibly powerful in its own subtle and understated way—never didactic for its own sake.

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Jewels
REVIEWS | Par Oksana Khadarina

Shine On

After attending the premiere of George Balanchine’s “Jewels,” on April 13, 1967, dance critic Clive Barnes described it in the New York Times as “too beautiful for words,” musing on the fact that at the time of its premiere the ballet had no title: “I can only presume that Mr. Balanchine must have taken one look at the extraordinary thing he created and at once found himself at a loss for words.”

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Spartacus
REVIEWS | Par Gracia Haby

Rise Again

“Broken necks, splattered patellas, severed arteries: These are the things from which dreams are made of,” according to former professional wrestler, Road Warrior Hawk (ring name of Michael Hegstrand, 1957–2003). Said fellow former professional wrestler Cactus Jack (ring name of Mick Foley, 1965–), “if the Gods could build me a ladder to the heavens, I'd climb up the ladder and drop a big elbow on the world.” They might have been talking about old school wrestling, but on Tuesday night, their words could easily be re-moulded around the hulking form of Lucas Jervies’ world premiere of “Spartacus” created on the...

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Philly Fringe
REVIEWS | Par Merilyn Jackson

Philly Fringe

Two back-to-back shows in Philadelphia’s 2018 Fringe Festival had me thinking in compare and contrast mode. One, full of lusty life and joy, reached out to the audience to join in the fun and total experience, and the other devoid of anything but interior dialogues, often inaudible, blanked the audience out.

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DANCEworks
REVIEWS | Par Penelope Ford

Something Wonderful

DANCEworks, a month-long residency at the Lobero Theatre in Santa Barbara, has been attracting big-name choreographers for the past decade. It's easy to see why—where else can you create in a uniquely supportive environment, in a fully-equipped theatre, by the sea? The residency culminates with a performance of the work-in-progress, and many of these works have gone on tour across the U.S. and internationally. This year marks DANCEworks' tenth anniversary, and artistic director Dianne Vapnek has every reason to celebrate.

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Natalia Osipova
REVIEWS | Par Sara Veale

Breaking out of the box

The last programme Natalia Osipova commissioned at Sadler’s Wells was tenacious but shaky, the Royal Ballet superstar storming the stage with then-boyfriend Sergei Polunin and a trio of hit-and-miss contemporary numbers. This time around, the commissions are stronger and the performances steadier. The six works of “Pure Dance” mix classical variations alongside brand-new solos and duets, with choreography from established dancemakers and emerging artists alike. It’s a lot of faces to try on in one night, but Osipova moves between the disparate routines like a chameleon, demonstrating the expansive versatility of her talent and how eager she is to branch...

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Monica Mirabile
INTERVIEWS | Par Rachel Stone

Moves for Mitski

Perched on the back of a chair holding a microphone, right leg extended long, the artist and songwriter Mitski Miyawaki (known mononymously as Mitski) languishes on a barely illuminated stage like a cabaret chanteuse. There’s a tension in her pose; her arms appear relaxed, but every muscle is held. This photograph from her latest tour, which she posted on her Instagram, illustrates a different sort of physicality for the artist—previous show photographs tend to capture her at a standing mic, holding her guitar.

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Bangarra Dark Emu
REVIEWS | Par Gracia Haby

The Emu in the Sky

Up in the sky there is a giant emu. They have been there all along, in the calendar in the sky. Above our heads, a creator spirit,[note]The title of Bruce Pascoe’s book, Dark Emu, on which Bangarra Dance Theatre’s “Dark Emu” is inspired by, “refers to the shape of the ‘Dark Emu’ in the night sky which represents Baiame, one of the spirit creator figures of Aboriginal Australia. The emu is also a grain feeding bird, and a plains bird, so the reference is to the creator spirit and to Aboriginal food production”. Bruce Pascoe, in interview, “The Book,” Bangarra...

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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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