Hard (Nut) Facts
I couldn’t stop thinking about hockey at the New York City Ballet’s “Nutcracker” this year, and not only because the stage appeared to be made of ice: there were a slew of spectacular falls one night I attended.
Continua a leggereWorld-class review of ballet and dance.
Lucy Guerin is known for her left of field works, and “Split” is no different. The scene of the performance is the Sydney Opera House’s Studio. As far as the Sydney Opera House goes, it is not a common setting for a dance performance. Rather than a large performance space, it is an intimate theatre space; dimly lit, roughly the size of a community hall. The stage is just an open space in the middle of the seats—no curtains, no props, but cordoned off with masking tape to mark the boundaries. Our bags have been security checked and we've been told twice that phones are not to be used during the performance. There is no hint of what is to come except the unusual.
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Lilian Steiner and Melanie Lane perform Lucy Guerin's “Split.” Photograph by Gregory Lorenzutti
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I couldn’t stop thinking about hockey at the New York City Ballet’s “Nutcracker” this year, and not only because the stage appeared to be made of ice: there were a slew of spectacular falls one night I attended.
Continua a leggereLast week, during the first Fjord Review Dance Critics’ Festival, Mindy Aloff discussed and read from an Edwin Denby essay during “The Critic’s Process” panel.
Continua a leggereThere are “Nutcrackers,” and then there’s American Contemporary Ballet’s “The Nutcracker Suite.”
Continua a leggereIs it as traditional as there being “The Nutcracker” or the British pantomime on at Christmas time, for there to be an alternative offering?
Continua a leggere
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