World-class review of ballet and dance.
After taking her final bows as Juliet at the Metropolitan Opera House with American Ballet Theater in June of 2007, Alessandra Ferri may have left the storied company she had danced with since 1985, but, as she said in a recent phone interview from her home in Manhattan, she certainly did not retire.
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“Fiddler on the Roof” returned to Broadway this month, with London-based choreographer Hofesh Shechter maintaining most of the original steps but relaxing the dancers’ postures and loosening the dances’ spacing for an effect of chaotic feeling erupting at ritual moments that I suspect Robbins would have loved. In any case, it seemed like a good moment to reprint a short Newsday feature as well as uncut interviews with some of Robbins’ favorite dancers, Mikhail Baryshnikov, Wendy Whelan and Damian Woetzel, conducted on the occasion of an exhilarating and comprehensive Robbins Celebration at New York City Ballet in 2008. All three of these brilliant...
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“I'm interested in the democratization of dance and theater, and redefining what constitutes a stage—both aesthetically and socially.” That’s Sarah Elgart speaking, a force of nature who has been at the forefront of dance in L.A. as a choreographer, director and producer for more than three decades. Still model-thin with blue eyes and long blonde hair, Elgart has not only engaged audiences with site-specific projects that have transformed bus terminals, airports and museums into veritable action paintings, but she’s also choreographed for film, commercials and television, working with high-profile directors that include Catherine Hardwicke, David Lynch and J. J. Abrams.
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For his first New York City performance, Bronx-born Rudy Perez presented a program of dance solos. It was the mid-1960s, and the venue was one of those “alternative” spaces that sat about 50. As he began the concert, Perez says that he noticed there were only four people in the audience—and they were all sitting together.
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With 24 dancers and six actors, “The Art of Falling,” a collaboration between Hubbard Street Dance Chicago and the improvisational comedy troupe, the Second City, is not only startlingly original, but, in a way, unclassifiable.
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In today’s high-tech world, where trends blow up the Twittersphere and Facebook like a Tesla on Insane Mode—going from 0 to 60 in under three seconds—the current dance scene also has its share of fast moving choreographic innovators: Think Christopher Wheeldon, Justin Peck or Crystal Pite of Vancouver’s Kidd Pivot.
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Jacques Heim has been obsessed with geometric shapes for years. After founding the risk-intensive, hyper-physical dance troupe DIAVOLO | Architecture in Motion™ in Los Angeles in 1992, Paris-born Heim translated that passion into full-blown, custom-designed stage sets. Included are a 5,000-pound, 16-foot rotating aluminum wheel (“Humachina”), a large, scary-looking vertical pegboard that could serve as the centerpiece at an S&M soiree (“D2R”), and a 14-by-17 foot rocking boat (“Trajectoire”).
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Not too many dancers have a desire to perform in Newfoundland. But Louise Lecavalier, who got the idea from reading Annie Proulx’s book, The Shipping News, is decidedly unlike any dancer—past or present—in the universe. Indeed, it’s safe to say that nobody moves like Louise Lecavalier. The erstwhile star of Édouard Lock’s Montréal-based troupe, La La La Human Steps from 1981-1999, Lecavalier honed her fierce and extreme style that was—and remains—instantly recognizable.
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In the Facebook, Twitter and Instagram era, everyone can rack up ‘friends,’ followers and ‘likes.’ But in the real world of ballet, bringing together 18 major stars from 12 foreign countries to dance on one stage is no easy feat. Don’t tell that to Roberto Bolle or Herman Cornejo, however, as this dynamic duo—both principals with American Ballet Theatre—are doing just that with the world premiere of BalletNow.
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Joseph Toonga is the co-founder and artistic director of Just Us Dance Theatre, a London-based dance collective started in 2007. Just Us is the resident company at Greenwich Dance, and explores the intersection of urban and classical styles, weaving together elements of hip-hop, contemporary dance, physical theatre and spoken word.
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Nat Cursio is a Melbourne-based dance maker, who creates choreographies, curated programs and developmental platforms under the umbrella Nat Cursio Co. Here, she illuminates her newest project, at least for a while anyway. 24 Frames Per Second opens at Carriageworks, Sydney on June 18.
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Dancehouse, Melbourne's longstanding centre for contemporary dance, will host dance maker and dance photographer Gregory Lorenzutti's inaugural Australian exhibition, “Dance is My Landscape” from June 12-14. More than one hundred of the Brazilian-born artist's images will occupy all three floors of the Carlton North dance institution, in a unique display dedicated to the art of capturing motion.
Continua a leggereWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
Continua a leggereThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
Continua a leggereAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
Continua a leggereAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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