Piece by Piece
Like two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Continua a leggereWorld-class review of ballet and dance.
Reading up on the backstory of how Alejandro Cerrudo’s “One Thousand Pieces” finally made it to the stage at Pacific Northwest Ballet, one is struck by the epic commitment the company lavished upon an epically scaled dance.
“One Thousand Pieces” is 70 minutes long, composed in three parts and 35 sections. Prior to the performance at PNB, it had been performed only one time, at Hubbard Street Dance Chicago in 2012. In order to perform the mélange of Philip Glass compositions live, PNB’s orchestra invested two years of chasing down copyright permissions and locating rare scores. Finally, there’s the epically disrupted timeline of the work’s rehearsal journey in Seattle. Originally slated for a 2020 company premiere, “One Thousand Pieces” was the last work PNB ran in dress rehearsal before Covid-19 shut down theaters. The company then danced one section of it for a digital stream release in 2021. But only this March, a year after Cerrudo wound down his stint as PNB’s resident choreographer, was the work finally danced in full.
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Like two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Continua a leggere“I can’t even stand it,” exclaimed Tina Finkelman Berkett about the Perenchio Foundation grant that her dance troupe, BodyTraffic, recently received.
Continua a leggereBeneath a tree also over a century old is where I meet dancer and artist Eileen Kramer, and where the 60-minute loop will end. And it feels fitting, on the heels of her recent death on November 15, 2024, at 110-years-of-age, to start here, at effectively the end of Sue Healey’s screening of On View: Icons.
FREE ARTICLEHubbard Street Dance Chicago’s Fall Series will entertain you. Deftly curated, with choreographers ranging from Aszure Barton to Bob Fosse, Hubbard’s dancers ably morph through this riveting programme of showmanship.
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