Lists of Promise
“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 leggereWorld-class review of ballet and dance.
Eleanor Sikorski, Flora Wellesley Wesley and Stephanie McMann, the charming dancers behind the London-based trio Nora, routinely invite guest choreographers to create new work on them. The approach is useful for showcasing their versatility as performers, particularly their flair for theatre, but makes it difficult to identify stylistic through-lines in their rep. Previous pieces shown at the Lilian Baylis have been hugely disparate, their moods ranging from jovial to irreverent to tranquil. With its abstract, contemplative tenor, the troupe’s newest work, “Where Home Is,” by Deborah Hay, adds another contrasting number to the mix.
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Nora performing “Where Home Is” by Deborah Hay. Photograph by Camilla Greenwell
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“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 leggereLast weekend, the Royal New Zealand Ballet hosted two nights of performance in collaboration with the Scottish Ballet at the St. James’ Theatre in Wellington, New Zealand. The bill included two works by choreographers affiliated with Scottish Ballet, and two by RNZB choreographers. There was welcome contrast in timbre and tempo, and common themes of self-actualisation and connection, through a love of dance. As RNZB artistic director Ty King-Wall announced in the audience address, the two-night only performance was in the spirit of “bringing the companies together in mutual admiration and respect.”
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