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Dance Massive 2017
REVIEWS | Di Gracia Haby

Walking on Clouds

The Bureau of Meteorology La Trobe St. Weather Station, near to the Carlton Gardens, has always intrigued me. A triangular wedge of fenced-off green on the city’s fringe, it looks like an art installation or a performance space. With a tiny garden shed, and unfamiliar equipment to measure climatic changes and patterns neatly dotted and connected by pathways, it is not so unlike the world Chunky Move’s Anouk van Dijk and Singaporean artist and filmmaker, Ho Tzu Nyen, have set up for their collaborative work, “Anti-Gravity.”

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Simulations
REVIEWS | Di Gracia Haby

Simulations

3, 2, 1, go. Beyoncé ‘borrows’ moves from the Belgian choreographer Anne Teresa De Keersmaeker. She duplicates De Keersmaeker’s “Rosas Danst Rosas” (1983) in her 2011 clip “Countdown.” It isn't plagiarism; it’s homage, it’s a tribute, darling. Besides, what’s original anyway?

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Human Engine
REVIEWS | Di Gracia Haby

Human Engine

See below the line. Look beyond the surface. Delve beneath the city. Peer underneath the skin. Vide infra. What makes us tick, and ultimately what holds us together, piece by splintered piece.

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Fast and frenzied
REVIEWS | Di Sara Veale

Fast and frenzied

Mental illness isn’t a common subject matter for dance, but then again Company Chameleon isn’t your average dance troupe. The Manchester-based company dedicates itself to showing people the possibilities of dance both on stage and off, frequently complementing its performances with public workshops that examine the stories behind its work. CC has plans to round out its current tour of “Witness,” a 2016 dance theatre work about the debilitating effects of bipolar disorder, with a series of classes in Manchester next month delving into the movement and text informing the piece.

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The Fairy's Kiss
REVIEWS | Di Oksana Khadarina

A Blessing and a Curse

Alexei Ratmansky’s “The Fairy’s Kiss” is a captivating piece of dance storytelling, fusing genres of fairy tale, mystery, and romance to powerful effect. Set to Igor Stravinsky’s enchanting score and replete with gripping choreographic imagery, it’s a masterfully-crafted and thought-provoking ballet in which Ratmansky’s talent of making dance as a vital, immediate, and engrossing theatrical experience shines through and through. This 45-minute-long work was created for Miami City Ballet and received its much anticipated premier at the Adrienne Arsht Center in Miami on February 10. This was the second ballet by the famed Russian-born choreographer for MCB, the first being...

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Whipped Cream
REVIEWS | Di Victoria Looseleaf

Sweet Dreams

A kind of cross between Willy Wonka & the Chocolate Factory and the booze-infested flick, Lost Weekend, the world premiere confection, “Whipped Cream,” landed with a sumptuous, if occasional cloying, sweetness in Orange County for a five-day run, before making its frothy way to American Ballet Theatre’s home—the stage of the Metropolitan Opera House—in May.

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Form & Content
REVIEWS | Di Rachel Elderkin

Form & Content

A book, physically cut from the pages of another, is the inspiration behind Wayne McGregor’s “Tree of Codes.” Much like the Jonathan Safran Foer book with which it shares its title, McGregor’s work is an experiment in the arrangement of form and content. In collaboration with Jamie xx and artist Olafur Eliasson, who conceived the incredible stage design for “Tree of Codes,” these three artists have created a complex, multi-sensory work of dance and design that turns the act of viewing upon its head.

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Grotesque Steps
REVIEWS | Di Rachel Elderkin

Grotesque Steps

Snow White outstretched in her glass coffin. A company of black-veiled figures gathered round. Before long she is dragged into life and her gory fate at the hands of her cruel stepmother is played out before the audience.

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Sensing Loss
REVIEWS | Di Rachel Elderkin

Sensing Loss

A room, its furniture haphazardly stacked. The armchair lies toppled, the door, placed flat like a table-top, is reimagined as a bed; the cupboards become miniature doorways or upstairs windows through which the company climb.

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A Given Light
REVIEWS | Di Victoria Looseleaf

A Given Light

Death and taxes are the two inevitables in a person’s life. And while taxes are not ever danced about (danced around, perhaps), the subject of death has never been one from which dancers and choreographers have shied away. As part of its “Flower of the Season,” currently in its 14th year, Body Weather Laboratory (a forum for investigating kinesthetic and movement research that was initiated in 1978 by dancer/farmer and improvisateur, Min Tanaka), presented a new work by Oguri, the Japan-born Butoh dancer who leads BWL in Venice, and, to be blunt, never fails to astonish.

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A Mixed Bill
REVIEWS | Di Victoria Looseleaf

A Mixed Bill

In a concert of five works—notable for a lack of discernible style—Jessica Lang Dance roared into Los Angeles last weekend as if it were the second coming. At only six years old, this troupe has somehow catapulted itself to the front ranks of companies.

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