Hidden Worlds
“Circle Electric” makes a magnifying glass of the stage, and places different dancers in different configurations in the spotlight with the intention of observing them and thereupon making inquiries.
Continua a leggereWorld-class review of ballet and dance.
It has been reassuring to see relatively full houses so far during American Ballet Theatre’s spring season at the Metropolitan Opera House, its first under the leadership of Susan Jaffe. People are finally feeling confident enough to go to the theater in large numbers. This, despite the fact that the company is offering a rather muted spring season containing a single premiere—Christopher Wheeldon’s populist “Like Water for Chocolate”—and three old standbys: “Giselle,” “Swan Lake,” and “Romeo and Juliet.” The ABT audience knows these well-worn productions by heart, down to the little details, like the moment the borzois emerge from the wings in the first act of “Giselle,” or the exact manner in which Albrecht tosses the “he-loves-me-not” daisy over his shoulder, eliciting the same titter of laughter from the audience each time.
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“Circle Electric” makes a magnifying glass of the stage, and places different dancers in different configurations in the spotlight with the intention of observing them and thereupon making inquiries.
Continua a leggereAcross North Africa, the all-night music-dance-trance ritual called lila (pronounced lee-lah) is celebrated as a means for spiritual healing.
FREE ARTICLEThe Fall for Dance Festival programming formula runs roughly thus: feature a new troupe, include a pet (or vanity) project of a big NYC star, and end with a feel-good group showcase.
Continua a leggereAs the fight for greater visibility for women choreographers continues, it was encouraging to see Carlos Acosta, director of Birmingham Royal Ballet, commission an all-female creative team for “Luna,” the final piece in his trilogy celebrating the company’s hometown.
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