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Ballet, In Focus
REVIEWS | Sophie Bress

Ballet, In Focus

What does it mean to devote your life to dance? Amy Sherman-Palladino and Daniel Palladino’s new streaming series, “Étoile,” which debuted April 24 on Prime Video, attempts to answer this question in a way that resonates with both dancers and general audiences. Not an easy task.

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Boy God
REVIEWS | Marina Harss

Boy God

Like many great roles, Balanchine’s Apollo is a character in constant evolution. Every male dancer who steps into it brings, or at least attempts to bring, something of himself.

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 Glimpsing Nureyev
REVIEWS | Alice Courtright

 Glimpsing Nureyev

Nureyev and Friends, a recent tribute event at the Hong Kong Arts Festival, opened with an introduction from Charles Jude, the longtime protégé of Rudolf Nureyev at the Paris Opera Ballet.

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Counting on It
INTERVIEWS | Karen Hildebrand

Counting on It

Listening to John Cage’s “Three Dances (for prepared piano)” is a wonderfully contradictory experience. The composer disrupts our auditory expectations by placing an assortment of small objects such as erasers, screws, and bolts, among the piano strings. A musician plays the piano in the typical manner, but instead of a harmonic tone, we hear more percussive sounds of kettle drums, timpani, xylophone, tin cans, even bells. One can imagine how an artist like Lucinda Childs, who was part of the Judson Dance Theater radicals in the ‘60s, might be attracted to such a composition. The choreographer is perhaps best known...

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Balanchine Inside Out
REVIEWS | Faye Arthurs

Balanchine Inside Out

It is always exciting when the New York City Ballet kicks off a season with an all-Balanchine program. However, the Spring Season’s opening quartet of Balanchine ballets—all strong in their own right—didn’t hang together as well as some other combos.

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Youthful Ideals
REVIEWS | Kris Kosaka

Youthful Ideals

Artistic Director Miyako Yoshida’s “Giselle” for the National Ballet of Japan excavates emotional freshness within the familiar landscape of the 1841 Romantic classic.

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Forever Changed
REVIEWS | Sophie Bress

Forever Changed

At a baseline, good art should move you. At its peak, it can change you. I did not expect to come out of Ririe-Woodbury Dance Company’s season closer, Re-Act, a changed person, but that’s exactly the effect the performance—and particularly one work, Daniel Charon’s “From Code to Universe”—had on me. 

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What is War
REVIEWS | Victoria Looseleaf

What is War

The body as vessel; the body as memory container; the body as truth-teller. All of these corporeal permutations were on view at the UCLA Nimoy Theater last Thursday, when Eiko Otake and Wen Hui performed their haunting, elegiac and deeply meaningful work, “What is War.”

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Light on their Feet
REVIEWS | Victoria Looseleaf

Light on their Feet

 It was sensory overload at the Marciano Art Foundation last weekend when six members of LA Dance Project performed side-by-side, around, and, at times, seemingly in tandem, with Doug Aitken’s film, Lightscape.

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