World-class review of ballet and dance.
Taking the historian’s long view, the message within “Last and First Men,” that “the whole duration of humanity, its evolution, and many successive species, is but a flash in the lifetime of the cosmos,” is, to me, ultimately a comfort.
Continua a leggereAn apron-clad Marjani Forté-Saunders, spotlit on the steps of the St. Mark’s Church sanctuary, rocks from one bare foot to the other while swinging a brown paper bag, presumably filled with groceries.
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While the ghosts of, among others, Judy Garland, Jack Benny and the cast of “All in the Family” might be haunting Television City’s soundstage 33 in Los Angeles, the dancers of American Contemporary Ballet (ACB), took metaphoric flight on Thursday when they performed the world premiere of, “The Euterpides.”
Continua a leggereTransformation is inevitable—and necessary in order to persist. That’s a theme that runs through two new works staged by Rotterdam’s Scapino Ballet in “Origin,” a program focused entirely on emerging choreographic talent.
Continua a leggere“Into the Hairy”—the 45-minute ballet by choreographer Sharon Eyal and her creative collaborator Gai Behar—sets the tone immediately. Dancers dressed in arachnid-like unitards have a severe look, with black eye makeup that drips intensely down their cheeks, gothic and dramatic.
Continua a leggere
Taking the historian’s long view, the message within “Last and First Men,” that “the whole duration of humanity, its evolution, and many successive species, is but a flash in the lifetime of the cosmos,” is, to me, ultimately a comfort.
Continua a leggere
While the ghosts of, among others, Judy Garland, Jack Benny and the cast of “All in the Family” might be haunting Television City’s soundstage 33 in Los Angeles, the dancers of American Contemporary Ballet (ACB), took metaphoric flight on Thursday when they performed the world premiere of, “The Euterpides.”
Continua a leggere
“Into the Hairy”—the 45-minute ballet by choreographer Sharon Eyal and her creative collaborator Gai Behar—sets the tone immediately. Dancers dressed in arachnid-like unitards have a severe look, with black eye makeup that drips intensely down their cheeks, gothic and dramatic.
Continua a leggere
Transformation is inevitable—and necessary in order to persist. That’s a theme that runs through two new works staged by Rotterdam’s Scapino Ballet in “Origin,” a program focused entirely on emerging choreographic talent.
Continua a leggere
An apron-clad Marjani Forté-Saunders, spotlit on the steps of the St. Mark’s Church sanctuary, rocks from one bare foot to the other while swinging a brown paper bag, presumably filled...
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For the most dynamic performers, artistry is an embodied quality. Whether through natural aptitude or diligent training—or most often, a combination of the two—the performer transcends the physical, choreographed act of their composition to present something that lingers outside the boundaries of their form.
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Talk about the marriage of music and dance! Following in the footsteps of George Balanchine, whose works with Igor Stravinsky stretched across decades, Lincoln Jones, artistic director and choreographer of American Contemporary Ballet, continues the tradition when his company dances the world premiere of “The Euterpides.”
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The New York City Ballet mounted no premieres this spring, unless you count the stage adaptation of Kyle Abraham’s Covid lockdown film “When We Fell.” Instead, the company drummed up hype by packing the season with debuts in dances both newish and old.
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One of the most important questions for any director who inherits a dance company from its founding choreographer is how to keep the repertory alive.
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Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
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The annual Dancing the Gods Festival of Indian Dance celebrated its fourteenth and final year with a generous finale May 16-18. This final event extended for three evenings instead of the usual two.
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Something old, something new, something borrowed, and something “Blue.” The premise of Australasian Dance Collective’s fortieth anniversary celebration stems from the traditional divisions of time.
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Shadows, dark matter and the enigmas of consciousness—the ideas behind Crystal Pite’s “Frontier” are timely and timeless at once.
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Ballet West’s Works from Within program gave company dancers a chance to speak. This year’s edition featured five works: Katlyn Addison’s “Andromeda,” Nicole Fannéy’s “Lingering Echoes,” Jazz Khai Bynum’s “With Feeling,” Vinicius Lima’s “Elis,” and Emily Adams’ “Mass Hysterical.”
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For the third year in a row, I attended the Spring is Blooming festival on Mother’s Day. Thanks to Dance Reflections by Van Cleef & Arpels and artist Alexandre Benjamin...
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Pattern and symmetry are the modus operandi of choreographer Thierry Malandain’s “Les Saisons” (2023), performed by his Malandain Ballet Biarritz contemporary ballet company to close out the Pittsburgh Dance Council’s 2024-2025 season.
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Talk about a Terpsichorean/Euterpean acid-like trip! Brooklyn-based Mark Morris Dance Group, currently celebrating its 45th anniversary, burst onto the stage of the Wallis Annenberg Center for the Performing Arts last Friday in their Carnaby Street-type costumes that popped with color and pizazz, all the while brilliantly bouncing, wildly whirling, and lusciously leaping to live music.
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When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
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San Francisco’s War Memorial Opera House is a grand, gracious theater, so it was a big deal to see the San Francisco Ballet School hold its end-of-year performances in that hall for the first time since at least 1985.
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At its heart, “Sylvia” is a ballet about the resistance to love—a theme that continues to resonate deeply, as the human spirit often recoils from love, driven by fear, pride,...
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