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Booksmart
REVIEWS | Di Victoria Looseleaf

Booksmart

While books are being banned and burned in the States, and the political climate continues to roil, one can take solace in art. Especially the art of Butoh master and Los Angeles treasure, Japanese rice-farmer-turned-dancer Oguri, who’s been making dances in Southern California since 1990. And what dances they are: From site-specific work that has included the phenom exploring the connection between humans and the Getty Center’s architectural environment, to his ongoing series, “Flower of the Season,” in which he tackles subjects as diverse as Ikebana, the Japanese art of flower arranging, to “Caddy! Caddy! Caddy!” inspired by William Faulkner’s...

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How It Started, How It’s Going
REVIEWS | Di Candice Thompson

How It Started, How It’s Going

In the archives at Jacob’s Pillow a 1948 video of Talley Beatty performing “Mourner’s Bench,” plays on a loop. In the space of a couple minutes, Beatty moves fluidly through wave-like motions, contracting and extending his body with a coiled intensity searching for release. The black and white footage is silent and flickering, and it is difficult to make out the expression on his face. Watching it over and over, I am struck by how Beatty continues to rise up with a Phoenix-like quality, eventually lifting up so much he executes a precarious one leg balance and promenade on top...

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Down to Earth
REVIEWS | Di Karen Greenspan

Down to Earth

The Vertigo Dance Company from Israel performed "One. One & One"─a work of incisive sensitivity and raw physicality at PS 21 (Performance Spaces for the 21st Century). Just a 3-hour drive north of New York City, the expansive conservancy with its singular, open-air pavilion theater is arguably the most perfect space to experience Vertigo’s earthy masterpiece. The 300-seat, open-air, state-of-the-art theater sits at the apex of a 100-acre preserve of apple orchards, meadows, and woodlands with trails. As the drama of sunset over New York’s verdant Hudson Valley played out in full view, the spectacle of Vertigo’s nine amazing dancers...

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Bright Colours
FEATURES | REVIEWS | Di Veronica Posth

Bright Colours

The international dance festival Colours in Stuttgart is a fairly young endeavour. Commencing in 2015, it repeated every two years through 2019 and restarted this year with a grand program. Launched by Eric Gauthier together with Claudia Bauer and Meinrad Huber, the festival has received international acclaim since its conception. As often dance festivals do, it brings together dance professionals, amateurs and enthusiasts in a friendly environment where it’s possible to relish in a vibrant and colourful atmosphere. 

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Veiled Anonymity
REVIEWS | Di Madelyn Coupe

Veiled Anonymity

Once a year, Queensland Ballet stages “Bespoke,” the company’s main contemporary program. It presents three new works created by three different choreographers that experiment with the creative process. “Bespoke” holds a unique place in Queensland Ballet’s season. It acts as a platform that exposes audiences to a wider variety of works (ones that are not just classical). More importantly, however, it also allows us to witness the wide spectrum of abilities the company dancers have to offer—abilities that are, sometimes, overlooked when staging more traditional productions.

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Dancing under the Stars
REVIEWS | Di Victoria Looseleaf

Dancing under the Stars

For performing arts aficionados, summer in Los Angeles can mean only one thing: wining and dining under the stars at the iconic Hollywood Bowl, where a ticket can still be snagged for—yes—a buck. Currently celebrating its 100-year anniversary, the outdoor venue and summer home to the Los Angeles Philharmonic, with its 1927 Lloyd Wright-designed shell that has since undergone several incarnations, has been the backdrop for boldfaced names of all stripes.

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Summer Fling
REVIEWS | Di Merilyn Jackson

Summer Fling

Philadelphia’s 17-year young BalletX has gifted the city with more than 100 world premiere contemporary ballets and then taken them on the road around the nation. Known for commissioning emerging and established choreographers from many countries, it has had some great successes. Among them, Rena Butler’s breathless “The Under Way,” which Covid relegated to film, Annabelle Lopez Ochoa’s staggeringly original “Castrati,” Tobin Del Cuore’s marvelous “Beside Myself,” and numerous delights from its co-founder and long-time resident choreographer for the Philadelphia Ballet, Matthew Neenan. Not to mention choreographers of the stature of Nicolo Fonte, Kevin O’Day, and the inimitable Jodie Gates...

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Dear Diary
REVIEWS | Di Karen Hildebrand

Dear Diary

When the inclination is to create, as the award-winning choreographer Amy Seiwert says, “the most brilliant thing that anyone’s ever seen,” what happens when you’re given permission to be less than perfect? This is one question the Michael Smuin protégée who went on to direct the Sacramento Ballet for two seasons is asking with her innovative series, Sketch. For the project’s twelfth iteration, Seiwert invited Natasha Adorlee, formerly of ODC/Dance and Robert Moses’ Kin; and rising star, Joshua L. Peugh, founder of Dark Circles Contemporary Dance, to join her with a group of eight stellar dance artists to create new works...

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An Interplay of Shadow and Light
REVIEWS | Di Madelyn Coupe

An Interplay of Shadow and Light

Australasian Dance Collective finally presented its second iteration of the triple bill “Three” to a very eager audience. Originally slated to be performed back in February, the Brisbane floods caused the production to be halted in its tracks. Mid-tech rehearsal everything stopped—the dancers were evacuated, the theatre flooded, and people patiently waited to hear about the future of “Three.” Thankfully, nearly five months later, the production was staged in all its sensory splendour, and audiences flocked to the theatre to support the three new Australian works.

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Resplendently human
REVIEWS | Di Sophie Bress

Resplendently human

Even despite countless efforts not to, the concert dance world can feel inaccessible. At its most avant-garde, the form can come off as niche, esoteric, and difficult to understand, especially to those without a background in it. Kyle Abraham’s “An Untitled Love,” turns all these assumptions on their head.

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Sharing stories, past and present
REVIEWS | Di Sophie Bress

Sharing stories, past and present

A single dancer commands the stage, her arms and legs lithely carving the space as the words of Gloria Anzaldúa’s poem “To Live In The Borderlands Means You,” simultaneously sculpt the air. A ballerina’s nimble fingertips etch lines in the sky as she dances with her partner in an ethereal, heart-wrenching pas de deux. Men in intricately embroidered jackets tap out a percussive and precise zapateado. Women in brightly colored skirts move together with force, muskets in hand. Ballet Nepantla’s “Valentina,” which was presented in an abridged version on July 13 at Jacob’s Pillow Dance Festival’s Henry J. Leir Outdoor...

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Love’s Transgression
REVIEWS | Di Marina Harss

Love’s Transgression

In a season dominated by old standbys, Kenneth MacMillan’s “Romeo and Juliet” stands out as one of American Ballet Theatre’s most evergreen. The production fits the company like an old glove, perhaps not as sleek as it once was, but still handsome and well made. The pas de deux—around which the ballet is built—have ingrained themselves in the audience’s collective consciousness. Everyone knows what comes next. Their steps melt into waves, that is, until the moments in which Romeo holds Juliet aloft, or the two dancers face each other in total stillness, barely touching. As if on cue, the audience...

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Featured Reads

REVIEWS | Rachel Howard
Starry Nights

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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