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A Numbers Game
REVIEWS | Par Penelope Ford

A Numbers Game

“Project 7,” choreographer and director Kylie Thompson revealed, was the working title of her new piece, named for the seven dancers of her eponymous pick-up company. On the meaning of the ultimate title, “33/33,” she was less forthcoming, hinting only at numerology as a driving theme. In the post-performance chat, lighting and projection designer, Simon Clemo reminded us: “Everything you need to know about the work is contained in the work,” his words and designs taking cues from the Russian avant-garde, and the Suprematism movement of 1930s.

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Disruptions
REVIEWS | Par Lorna Irvine

Disruptions

On the face of it, these two short pieces performed by the mighty Scottish Dance Theatre have little in common. They create two very distinct worlds. Yet they both deal in disruption of form, and riff on well-known themes which touch our lives. Artistic director Fleur Darkin invites the audience to spot the link between two such disparate works, and as both pieces expand, so the similarity is revealed.

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Wild Variety
REVIEWS | Par Sara Veale

Wild Variety

For a colourful cross-section of the UK dance scene, you can hardly do better than “Sampled.” The annual event is a glimpse into the range of productions that grace the Sadler’s Wells stage over the year, pitching ballet alongside contemporary, hip-hop, flamenco and more. With its diverse line-up and proms-style standing tickets, the show caters to the devoted and the uninitiated alike, drawing a dynamic and often chirpier-than-usual crowd.

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Musing about Balanchine
REVIEWS | Par Oksana Khadarina

Musing about Balanchine

George Balanchine created “Apollo” 90 years ago. Set to Igor Stravinsky’s score, this ballet—seminal and historic on many levels—signified a major point in development of Balanchine’s aesthetics and principles as a choreographer. “Apollo” is regarded as one of signatures of New York City Ballet.

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Mass for Everybody
REVIEWS | Par Victoria Looseleaf

Mass for Everybody

This may be the Chinese year of the dog, but in music, 2018 is the 100th anniversary of the birth of Leonard Bernstein, the conductor, composer, pianist, lecturer, broadcaster and writer who died at age 72 in 1990. In politics, Hollywood and in some concert halls, this year is also shaping up to be the year of the woman, with marches, protests and the #MeToo movement still going strong, and the rise of the female conductor becoming, er, somewhat more apparent.

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Extra
REVIEWS | Par Gracia Haby

Extra

With a Dancing Faun at the head and Farnese Hercules at the feet, I know I am in the right place.

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Jeune Homme
REVIEWS | Par Sara Veale

Love and Loss

English National Ballet has launched the New Year with two double bills anchored by August Bournonville’s beloved “La Sylphide.” Over the course of a two-week run, the Romantic staple—a flutter of forest sprites and lively Highlanders—is alternately paired with Kenneth Macmillan’s “Song of the Earth” and Roland Petit’s “Le Jeune Homme et la Mort,” both of which dedicate a principal role to Death.

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flavia cacace and vincent simone
REVIEWS | Par Lorna Irvine

Tango 'Til They're Sore

Has there ever been a sexier dance than the tango? From its origins in the 1880s in the River Plate, the border between Argentina and Uruguay, through the slums and bordellos to ballrooms—becoming a worldwide phenomenon during the Depression and extending far beyond the jazz era—its legacy still endures. It's simply a classic genre, because its romance, fire and passion are timeless.

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San Francisco Ballet Gala
REVIEWS | Par Rachel Howard

Stars and Stripes

“What is dance now?” artistic director Helgi Tomasson asked in the middle of San Francisco Ballet’s gala, making a pitch for the massively ambitious Unbound Festival that will crown this company’s 85thseason with 12 world premieres by 12 international choreographers unveiled in four days. If we may recast Tomasson’s question a bit more specifically, to “What is ballet now?” this was a perfect question for the moment.

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Human Movements
INTERVIEWS | Par Penelope Ford

Human Movements

In an essay, “Grandmother Spider,” writer Rebecca Solnit describes a painting by Ana Teresa Fernandez. The painting shows an image of a woman, hanging out laundry, entirely covered by the sheet she's pinning to the line; only visible her fingertips and below the ankle. She's wearing heels, “as if to go dancing,” Solnit suggests. I was reminded of the photograph Elena Lobsanova, principal dancer of the National Ballet of Canada, taken by Karolina Kuras, where Lobsanova is similarly concealed, and revealed by fabric; revealed in outline, as woman, as artist. Yet, this woman wears pointe shoes; she is dancing.

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Murder Ballades & Other Dances
REVIEWS | Par Merilyn Jackson

Murder Ballades & Other Dances

Long before statistics and news, murder ballads were a staple of European folk songs and traveled here with immigrants. Dylan, Joan Baez and a lot of Appalachian singers sung them. One of the most famous in the 1950s was “Tom Dooley.” But I remember hearing somewhere along the way, “Oh, listen to my story, I'll tell you no lies, How John Lewis did murder poor little Omie Wise.” It’s the folktale of the early 19th Century murder of Naomi Wise. You can hear the tune and others deconstructed in Bryce Dessner’s original score, Murder Ballades, recorded by Eighth Blackbird. Resident...

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No Minor(ity) Matter
REVIEWS | Par Victoria Looseleaf

No Minor(ity) Matter

The late rock icon Jimi Hendrix would have approved: Cool “purple haze”—as well as hot crimsons and other miasmas of color emanating from Ligia Lewis’ tour de force work from 2016, “minor matter”—proved mind-altering both visually and viscerally. Programmed as part of the Pacific Standard Time Festival: Live Art LA/LA, the dance won a 2017 Bessie Award for Outstanding Production and is the second part of Lewis’ trilogy, “Blue Red White.”

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