Why it’s called American Street Dancer
Books are banned, DEI scuttled, and Africanist studies scaled back. Yet, the irrepressible spirit of African American artists is not extinguished.
Continua a leggereWorld-class review of ballet and dance.
Cold, immovable violence is rooted at the heart of Johan Inger’s “Carmen.” Drawing from Prosper Mérimée’s 1845 novella, Inger’s timeless version of “Carmen” revels, as it was originally written,[1] Carmen’s death, at the hands of Don José, as chillingly intentional. In Inger’s hands, her death is no operatic, heated crime of passion, and, consequently, he, too, displays his original source material in an unapologetically matter-of-fact way. On opening night at the Regent Theatre, the Australian Ballet took up this renowned tale with the precision of a blade.
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Books are banned, DEI scuttled, and Africanist studies scaled back. Yet, the irrepressible spirit of African American artists is not extinguished.
Continua a leggere“Lists of Promise,” a new work currently in a two-week run from March 13- 30 at the East Village cultural landmark, Theater for the New City, promised more than it delivered, at least for now.
Continua a leggere“State of Heads” opens with a blaze of white light and loud clanking onto a white-suited Levi Gonzalez, part Elvis, part televangelist addressing his congregation. A pair of women sidle in—Rebecca Cyr and Donna Uchizono—dressed in ankle-length white dresses and cowered posture.
Continua a leggereThe late John Ashford, a pioneer in programming emerging contemporary choreographers across Europe, once told me that he could tell what sort of choreographer a young artist would turn into when watching their first creations.
Continua a leggere
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