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Atonement
REVIEWS | Róisín O’Brien

Atonement

When I first read Ian McEwan’s Atonement at university, my lecturer told us that, upon finishing the book, she threw it on the ground. 

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Darkness Never Dies
REVIEWS | Victoria Looseleaf

Darkness Never Dies

Touted as a “Halloween destination for ballet and horror fans alike,” American Contemporary Ballet, now in its thirteenth season—a feat in and of itself for any dance company—is presenting, “LA’s Fatal Attraction: “Inferno” (2017), “Burlesque” (2018), and “The Rite” (2023), in repertory throughout October.

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Water World
REVIEWS | Kris Kosaka

Water World

To children or the young at heart, it’s pure magic. “Mermaid,” the beloved Hans Christian Anderson fairy tale, reworked and dazzling to behold, is a new original production from K-Ballet Tokyo.

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Dreams and Disorder
REVIEWS | Emily May

Dreams and Disorder

There are certain elements you can expect to find in any piece by Hofesh Shechter: a deafening, grungy, and distorted score composed by the choreographer himself; dim lighting and smoke enveloping the stage to create a nostalgic yet unsettling atmosphere; and a signature hunch-shouldered, gestural movement language referencing various forms of folk dance.

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Mother Tongue
REVIEWS | Emily May

Mother Tongue

A colourful, decorative rug is positioned centre stage. “It lasted pretty well,” a disembodied voice comments through the speaker system, explaining how it was chosen for its pattern, which is ideal for concealing dirt.

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Romeo & Juliet Redux
REVIEWS | Victoria Looseleaf

Romeo & Juliet Redux

This is decidedly not your mother’s “Romeo and Juliet.” Indeed, Benjamin Millepied’s “Romeo & Juliet Suite,” choreographed for the superb members of his L.A. Dance Project, featured a female duo (Daphne Fernberger and Nayomi Van Brunt) in the titular roles at the Wallis Annenberg Center for the Performing Arts on Thursday. 

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A Mystical Evening
REVIEWS | Merilyn Jackson

A Mystical Evening

This year’s Biennale Danza Venezia Silver Lion award went to Zurich-based choreographer Trajal Harrell. A house director at the Schauspielhaus Zurich, and the founding director of the Schauspielhaus Zurich Dance Ensemble, he brought the Ensemble to FringeArts Festival for the Philadelphia premiere of his 2022 “The Köln Concert” last month. 

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