“Dance is a fragile thing—it only exists in the moment you do it, and then it’s gone.” So Robert Cohan reminded us when he took to the stage at the end of this gala, organised to celebrate his 90th birthday and honour his many achievements on stage and in the studio. The American choreographer—who trained with Martha Graham and famously went on to partner her in some of her biggest works—has a devoted following the world over, but he’s especially beloved in the UK, where the dance scene would look distinctly different had he not teamed up with Robin Howard five decades ago to, in his words, “bring an injection of American contemporary dance to Britain.” The pair launched London Contemporary Dance Theatre in 1967, which nurtured the UK’s first generation of modern dancers, churning out some of the country’s top talent (including Siobhan Davies) during its 25-year run and laying the groundwork for another seminal contemporary troupe: Richard Alston Dance Company. The site of all this creativity? The Place, where an enthusiastic audience greeted Cohan last week, eager to witness this mini-retrospective on his artistic legacy.
Tony Adigun's “Wilderness.” Photograph by Camilla Greenwell
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continua a leggere
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continua a leggere