The Mahabharata: A Timeless Retelling
Why Not Theatre’s bold, multidisciplinary adaptation of the Mahabharata drew a rapt audience at Lincoln Center’s vibrant summer arts festival “Summer for the City.”
Continua a leggereWorld-class review of ballet and dance.
There's a strong element of isolation to James Wilton's “Last Man Standing,” a moody two-act work that ruminates on mortality and the existential crises it inspires. The choreography constantly links the six dancers together in tight-grip grasps only to dismantle their connections, a reminder that death is never anything but an individual journey. It's a dark piece to be sure, made even more so by its soundtrack, a tempestuous medley of Tool songs, but the six-strong group (which includes Wilton himself) breathes an indelible radiance into it, lifting the mood out of desperation and into quiet introspection.
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James Wilton's “Last Man Standing.” Photograph by Steve Tanner
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Why Not Theatre’s bold, multidisciplinary adaptation of the Mahabharata drew a rapt audience at Lincoln Center’s vibrant summer arts festival “Summer for the City.”
Continua a leggereStephen Petronio has an odd way of celebrating his 40th anniversary. He and his board have decided this season will be the company’s last.
Continua a leggereWashington, D.C.’s 100° June weather wasn’t the only thing generating heat in the city. Chamber Dance Project’s 11th annual D.C. summer season production, “Red Angels,” produced its own scorching intensity as one of this summer’s early triumphs.
Continua a leggereA ballet body is essentially a deformed body. The older and more experienced the dancer, the more evident–and beautiful–this deformation is.
Continua a leggere
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