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Mozart in Motion
REVIEWS | Di Rachel Howard

Mozart in Motion

I don’t live in Sacramento—state capital of California, the world’s sixth biggest economy—but I half wish I did after catching “Mozart in Motion,” the Sacramento Ballet’s mixed-bill opener for its second season under new artistic director Amy Seiwert. From a corner of Midtown Sac, the year-old, $29 million Sofia Center gleamed with twinkly lights against fashionably angled concrete. Inside, diverse patrons dressed in architect-chic took their glasses of Pinot Gris inside the well-equipped, pine-paneled and burnt-orange upholstered 365-seat theater, one of two performance spaces in the complex. Most appealing of all, when the curtain went up: A company of 21...

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Fall for Dance
REVIEWS | Di Faye Arthurs

Fall for Dance

Sixteen years in, City Center’s Fall for Dance Festival continues to deliver. The shows can sometimes be a mixed bag, but the variety of programming is always interesting and the theater is unfailingly abrim with positive energy. There’s good reason for this: with every seat in the house costing just $15, world class dance companies are as accessible as movie tickets. The entire run is sold out this year, as usual. On opening night the crowd was a balanced blend of young and old, the gussied up and the flip-flop-wearing. The diversity of the entertainers on the stage also translates...

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Tanz im August
REVIEWS | Di Merilyn Jackson

Tanz im Berlin

With the Berliner Festspiel under renovation on Berlin’s western end, artistic director, Virve Sutinen, spread this year’s Tanz im August festival (TIA)—its 33rd—throughout venues in the eastern part of the city. By theater and neighborhood, here are 15 of the shows I took in at this year’s TIA. Each theater has a bar, but not one has so much as a standing or ceiling fan to fend off sweltering heat. So it’s BYOF—Bring Your Own Fan.

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Orphee and Eurydice
REVIEWS | Di Jade Larine

Danced Interludes

On the edge of the Black Forest, Baden-Baden is not only home to Germany’s most renowned thermal springs. It also hosts the Festspielhaus, the largest opera house in the country, an imposing monument overlooking the chic city center. Seeking to turn Baden-Baden into a wider cultural haven, Benedikt Stampa, new artistic director, opened the season with a big name (John Neumeier), a famous opera (Gluck’s “Orphée and Eurydice,” in its Paris version) and a fine company (Hamburg Ballet).

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BodyTraffic
REVIEWS | Di Victoria Looseleaf

Let's Keep Dancing

It was full speed ahead when L.A.’s very own repertory dance troupe, BodyTraffic took to the stage at the Wallis Annenberg Center for the Performing Arts over the weekend to begin its 2019-2020 residency at the Beverly Hills venue. Co-founded by Lilian Barbeito and Tina Finkelman Berkett in 2007, the eight-member company has carved out a name for itself on both national and international stages while also helping to elevate the contemporary dance scene in its home town.

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The Crucible
REVIEWS | Di Lorna Irvine

You Want It Darker

How to dance a dance of contrition? Jealousy, slander, hysteria and fear? Helen Pickett's latest, more fleshed-out adaptation of Arthur Miller's classic The Crucible arrives at an interesting time, culturally, when the two most recent successful TV franchises focus on female protagonists: The Handmaid's Tale and Killing Eve (the former focusing on misogyny and oppression, the latter, psychopathy and sexuality). She pulls the audience into the shadow psyche, by framing the Salem witch trials around the affair between servant Abigail Williams (Claire Souet) and affluent, married man John Proctor (Barnaby Rook Bishop) and consequently, the fall-out in their deeply religious...

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The Chosen
REVIEWS | Di Lorna Irvine

Never Let Me Go

It's perhaps entirely apposite to watch something as glorious as this strange, elegiac piece from artistic director Kally Lloyd-Jones on this week, of all weeks, when the global impetus is on the effects of climate change, and all of our futures. (We are doomed if action isn't taken.) It's all about tension and trust within day-to-day relationships for this “intensely personal” piece choreographed by Lloyd-Jones, in collaboration with the cast.  

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Alvin Ailey
REVIEWS | Di Sara Veale

Hip and Harmonious

It’s been 30 years since Alvin Ailey’s death, but his company looks eager as ever to spread the gospel he wrote: a hip, harmonious union of modern dance and black vernacular styles. Ailey’s eminent legacy infuses every piece the troupe performs, even recent commissions like those on show in this UK tour. Where he led, his dancers continue to follow, finding vibrant new ways to honour the lives and experiences of black America.

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Cullberg Ballet
REVIEWS | Di Sara Veale

A Study in Energy and Form

Deborah Hay, a torchbearer of America’s 1960s postmodern dance movement, usually deals in minimalism, which means her work rarely feels embellished, emotive or particularly intense; you’re unlikely encounter explicit themes or narratives. The story is the body and how it moves through space in different iterations—how motions can reach beyond the recognised borders of skill and performance in search of something reflective. The idea of liminality is fundamental to Hay’s choreography, which is usually devised using esoteric questions relating to time, perception and place.

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Bangarra Dance Theatre
REVIEWS | Di Gracia Haby

Stamping Ground

From many languages, one song; from “the beginning of day,”[note]David Unaipon, Stephen Muecke and Adam Shoemaker (eds.), Legendary Tales of the Australian Aborigines (Carlton: Miegunyah Press at Melbourne University Press, 2001), 217[/note] shared knowledge, respect, and understanding; from an unbreakable connection to land and community, come together, with purpose, invites Bangarra Dance Theatre. Come together for “30 years of sixty five thousand” to mark the company’s 30th anniversary. Come together to learn, dig deep, acknowledge, and say thank you. “With roots in the world’s oldest continuing culture, “Bangarra: 30 years of sixty five thousand” carries the spirit of Bangarra into...

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Sylvia
REVIEWS | Di Gracia Haby

Melody and Mythology

I have long wished to swim through the other-worlds created by Georges Méliès, and Stanton Welch’s “Sylvia,” a co-production between Houston Ballet and the Australian Ballet, gives me the opportunity to do just that; to submerge myself in a fantastical landscape that delights in the play of model making and storytelling; in how we tell a story and the story itself. Theatrical and larger than life.

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Matthew Bourne Romeo and Juliet
REVIEWS | Di Sara Veale

Youth in Revolt

Like Baz Luhrmann before him, Matthew Bourne’s contemporary reworking of “Romeo and Juliet” adds a coat of grit to fair Verona. Gone are the marbled columns and wrought-iron balconies of the Capulet court; it’s all sheetrock and cold metal bars at the Verona Institute, a juvie-asylum hybrid where disaffected teens are doped into submission. Absent too are the feuding families. Romeo’s parents are shellacked politicians, eager to hand their son over for medicated safekeeping, while Juliet’s are absent from the picture altogether. A legion of tyrannical guards stand in the way of our star-crossed lovers, commanded by a nightmarish Tybalt...

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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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