Music as Muse
Music was muse, medium, and the message during Kyle Marshall Choreography’s recent engagement at the Joyce Theater.
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Power Chords and Enigmatic Moves
WTF! And this reviewer means that in a good way. No, make that a great way! Whatever it was—and is—“takemehome,” the 65-minute work choreographed by Paris, France-based Dimitri Chamblas, was, by turns, provocative, enigmatic, stunning, stirring, singular and, well, something else again.
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Collective Forward Motion
As Ballet West celebrates its 60th anniversary, it is clearly on an upward trajectory. The company is consistently filling seats, tackling more ambitious work, and the company’s first triple bill of the season was no exception.
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From Blossoms to Moss
I’d nearly forgotten the many pleasures of watching dance from a folding chair on a riser in a SoHo loft, sound of sirens and traffic rising from the street outside to compete with the more subtle notes of a cello.
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Wings of the Dove
Ola Maciejewska’s “Bombyx Mori” is the second hour-long work in the “Dance Reflections” festival I’ve seen so far. Is this a new trend in European dance, I wonder?
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You Can’t Go Home Again
American Ballet Theatre’s fall season has been brief, too brief to form a sense of the new director Susan Jaffe’s tastes and intentions.
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Movement Echo
In Sankai Juku's “Kōsa,” bodies don't just speak, they echo. Movement is generated on dancers then released into the air.
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Vertical Road
Every human dreams of flying at some point. We watch the birds and imagine ourselves soaring above the landscape.
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Ghosts in the Machines
“What is dance?” is a question posited by postmodern choreography, and postmodern choreographers generally seek to answer it through means as far away from conventional notions of dance as possible.
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C'est Chic
To consider (La)Horde is to contemplate cool. The French collective is made up of artists Marine Brutti, Jonathan Debrouwer, and Arthur Harel.
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Moving Pictures
What’s that you see out of the corner of your eye? Is the painting . . . moving? In Florence Peake’s “Factual Actual,” the artist and her collaborators break down the boundaries between inanimate objects and living people with calm assurance and a dash of whimsy.
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Determination and Grace
Think Sankai Juku on steroids, or a sort of fractured Sufism where spinning does rule, but in the über-darkness of night.
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Teenage Angst and Institutions
Watching 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,...
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The Me of Today
The 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.
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America, F**K Yeah
After 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.
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Acosta Danza’s Choreographic Soup
An “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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