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All that Glitters
INTERVIEWS | Par Penelope Ford

All that Glitters

“When they said glitter, I immediately thought—no,” photographer Karolina Kuras was somewhat wary of truckloads of glitter entering her Toronto studio for a photoshoot with Brent Parolin, second soloist of the National Ballet of Canada. And yet, the results are nothing less than, well, sparkling. Makeup and styling by Ashley Readings.

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RAWdance
REVIEWS | Par Rachel Howard

Double Exposure

Aretha Franklin’s voice surges warm and bosomy from the sound system, singing the 1960’s Sam Cooke classic, A change is gonna come . . . As she sings, two dancers cavort below, an inane little chirping noise intrudes, and what we gather are tweets from the choreographer David Roussève appear above, emoticons and all. His favorite note from Aretha is about to come, he tweets. Listen for it . . . That one. The one that makes him feel mmmm. The way Wendy and Ryan are dancing, that’s the way that note makes him feel, he says. And he goes...

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Songs of Bukovina
REVIEWS | Par Oksana Khadarina

Songs of Bukovina

A world premiere of Alexei Ratmansky’s “Songs of Bukovina” was one of the highlights of American Ballet Theatre’s fall season at the Lincoln Center. The ballet is choreographed to the commissioned score by Leonid Desyatnikov, namely a selection of preludes from his newly-minted, incandescent Bukovinian Songs (24 Preludes for Piano). (The music in its entirety will be premiered in Russia next spring.) This is the sixth ballet of Ratmansky-Desyatnikov creative team and the third with the entirely new music. Previously, the choreographer made two ballets: “Lost Illusions” (2011) for Bolshoi Ballet and “Opera” (2013) for La Scala Ballet, for which...

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Salva Sanchis
REVIEWS | Par Merli V. Guerra

A Love Supreme

In early October, Princeton University hosted A Festival of the Arts, celebrating the grand opening of the university’s impressive new Lewis Arts complex. Presented by the Department of Music and the Lewis Center for the Arts, the festival boasted over 100 events in music, art, and dance, including daily sold-out performances of Anne Teresa De Keersmaeker and Salva Sanchis’s “A Love Supreme.”

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Mariinsky Ballet
REVIEWS | Par Victoria Looseleaf

Gifts from Fokine

Gobsmacked by beauty and the timelessness of ballet! Indeed, what a gift it was to witness terpsichorean history come alive—if only for several hours—when Segerstrom Center for the Arts presented the Mariinsky Ballet and Orchestra as its season opener in an all-Fokine program.

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Count Me In
REVIEWS | Par Gracia Haby

Count Me In

A performance that took place in a 7 x 4 metre box, covered in two-way mirrored Plexiglas film, offered the promise of, as then billed, “two bodies, a drum kit, and a melody.” Two years later, the melody has gone, but the two bodies and kit remain; “by doing away with narrative and melody, and making a constantly 'in flux' relationship to the public, attention is focused on the agency of the drumming and dancing and the audience.” Presented at the Substation as part of this year’s Melbourne Festival, the chance to walk around said mirrored box promised a little...

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Tales from Odessa
REVIEWS | Par Oksana Khadarina

Tales from Odessa

New York City Ballet’s program titled “Here/Now” included a selection of works the company presented during its last season’s spring festival of the same title. This was a winning quadruple bill on all levels, featuring ballets by some of the most prominent choreographers working today: Alexei Ratmansky, Christopher Wheeldon, and Justin Peck.

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Kate Weare
REVIEWS | Par Rachel Howard

A Will Within Nature

At its previous performances in North Carolina and New York, Kate Weare’s commanding “Marksman” played in large proscenium theaters, where Clifford Ross’s backdrops of black and grey images suggesting cresting tsunamis loomed high above the six dancers. The effect was lost last weekend in the black box ODC Theater where I saw “Marksman” on the San Francisco stop of its yearlong tour. Here, the dancers were practically near enough to touch, and Ross’s totemic scrolls did not seem so overpowering. But while Weare herself seemed to lament the shift in scale during Friday’s post-performance talk, I wouldn’t have had it...

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Love is a Rose
REVIEWS | Par Rachel Howard

Love is a Rose

What role do imitation and “borrowing” play in developing an artist’s oeuvre? And how, as a viewer, do you separate your perceptions of an artist’s choreography from your awareness of theatrical trends?

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Pure Lust and Combat Fatigue
REVIEWS | Par Lorna Irvine

Pure Lust and Combat Fatigue

On the surface, these two ballets could not be more contrasting. Yet, what thematically links them is the iconoclastic approach of both Sir Kenneth MacMillan's choreography (this production marks twenty five years of his passing) and the bold invention of Scottish Ballet's own Artistic Director Christopher Hampson—not to mention, of course, the “The Rite Of Spring's” notorious first Parisian performance in 1913, which caused riots.

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Dancing DNA
REVIEWS | Par Sara Veale

Dancing DNA

“Can an intelligent being comprehend the instructions to make itself?” This is one of the questions at the heart of “Autobiography,” Wayne McGregor’s newest work and the latest in a line of ventures reflecting his fascination with science, particularly genetics. (Just this summer the choreographer teamed up with the Genetics Clinic of the Future to have his entire genome sequenced.) Here ten dancers from McGregor’s London-based company probe his personal memories as well as his actual genetic code to weave a helix of memory, contemplation and speculation.

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Fearless at Forty
REVIEWS | Par Victoria Looseleaf

Fearless at Forty

When terpsichorean stars align, magic can happen. Such is the case with Hubbard Street Dance Chicago, a troupe founded 40 years ago by Lou Conte and directed by the indefatigable Glenn Edgerton since 2009. Edgerton comes to his role with a prestigious pedigree: Having danced 11 years with the Joffrey Ballet before taking the helm at Netherlands Dance Theater for a decade, his curatorial skills are in full flower as he and his 16-member troupe celebrate Hubbard’s four-decade anniversary.

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