World-class review of ballet and dance.
There is no such thing as a “Lucinda Childs vocabulary,” the choreographer herself clarifies in a pre-show talk with Gideon Lester, the artistic director and chief executive of Bard College’s Fisher Center. Inside the spectacular, Frank Gehry-designed building, the choreographer—who days before, celebrated her 86th birthday—is about two hours away from performing herself.
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Upon arrival, colour greets me, and how. A wall of colour and pattern by Jeffrey Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, it is joyous and intriguing, loaded and bright. Snaking up the two sides, in blue lettering, all caps, a tantalising premise: “The only way out is through.”
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“Sheltering,” Bangarra Dance Theatre’s new triple bill, having opened in Canberra on Ngunnawal Country, is on its national tour.
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Welcomed back to Los Angeles for the first time in 22 years (but who’s counting!), New York City Ballet made a triumphant return to the Dorothy Chandler Pavilion in two separate programs.
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Like picnicking in Central Park, catching the ferry to the Rockaways, or heading to Citifield for a Mets game, American Ballet Theatre’s “Swan Lake” is a well-established summer tradition for countless New Yorkers.
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Pointeworks is the new kid on the block in San Diego’s thriving dance scene. Founded by Sophie Williams, a dancer with Texas Ballet Theatre and a San Diego native who grew up training in Solana Beach, the company says it seeks to provide off-season work for dancers and highlight female choreographers.
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Conceived by a Frenchman in imperial Russia and restaged by a Russian in post-Cold War France, “La Bayadère” periodically returns to the Paris Opera stage with its fakirs, idols and opium dreams.
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A carousel spins in the middle of the grassy area outside Colonels Row on Governors Island. For the next three hours, mirrored vertical bars that form a cage on the spinning structure will reflect changing light, flashes of audience faces, and the green of surrounding trees, as late afternoon settles into dusk.
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The life of artist Michelangelo Merisi da Caravaggio (1571-1610) is ripe for dramatic interpretation.
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It’s absolutely wonderful seeing a company at the top of their game. Scottish Dance Theatre at forty is a force to be reckoned with.
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A ballet career necessitates lifelong scholarship. Professionals take a daily technique class that begins with the same pliés at the barre as absolute beginners. Most days at the School of American Ballet, New York City Ballet members are tucked into in a corner of the studio, honing their tendus alongside the top divisions.
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Jessica Lang is smack in the middle of a three-year stint as resident choreographer at Seattle’s Pacific Northwest Ballet. It’s an excellent artistic match that deserves to be followed closely, because both Lang and PNB merit a higher national profile.
Continua a leggereLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
Continua a leggereIt is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Continua a leggereAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Continua a leggereOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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