Super Nothing
In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
Continua a leggereWorld-class review of ballet and dance.
Touted as a “Halloween destination for ballet and horror fans alike,” American Contemporary Ballet, now in its thirteenth season—a feat in and of itself for any dance company—is presenting, LA’s Fatal Attraction: “Inferno” (2017), “Burlesque” (2018), and “The Rite” (2023), in repertory throughout October. Choreographed by ACB director Lincoln Jones, who described the triptych as “Halloween for David Lynch fans,” the works were less Blue Velvet(y) and more, well, “Cat People,” possibly because they were all estrogen-driven.
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In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
Continua a leggere“Well, it’s big,” Seattle ballet fans were saying as they headed into McCaw Hall’s sleek sanctuary of velvet settees and shiny metal staircases.
Continua a leggereWho says choreography can’t be taught? Not Ellen Robbins, a modern dance educator who has been teaching the art of choreography to young people in Soho for decades.
Continua a leggereNever forget!” With the 80th anniversary of the liberation of Auschwitz and International Holocaust Remembrance Day both having been recognized last month, these words, although unspoken, coursed through Melissa Barak’s first evening-length ballet, “Memoryhouse.”
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