A Darker Dream
A Midsummer Night’s Dream” is one of William Shakespeare’s best-known comedies. Filled with fairies, mischief, and moments of mistaken identity, it's a mischievous tale that delights with its chaos and humor.
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Simple Gifts
The Sarasota Ballet is not only an impressive troupe in its own right, with a repertory that elevates it to the top rank of America’s regional ballet companies. It also has the enlightened policy of inviting outside companies to perform as part of its yearly seasons.
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Getting Low
From the moment Darrell Jones steps onto the platform erected as a stage in an empty gallery space of MoMa PS1, he’s constantly in motion. Barefoot, in t-shirt and workout pants, he moves to a beat only he can hear, AirPods sticking out from his ears. Both fluid and awkward, his energy is frenetic.
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Dressing the Part
Last fall, designer Batsheva Hay started her New York Fashion Week runway show with an unconventional opener. Lori Belilove, the artistic director of Lori Belilove & the Isadora Duncan Dance Company, performed Isadora Duncan’s solo “The Revolutionary.”
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Sweet Peas
Joffrey Ballet’s latest mixed bill programme, “Golden Hour,” unfurled into the still dark and snowy evening streets of Chicago in mid-February (‘Danger Ice Falling’ signs littering the pavements). This diverse mix of works contained two world premieres, including a co-production with Oregon Ballet Theatre titled “Princess and the Pea.”
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Forces of Nature
Nijinsky lives! Or at least it seemed that way in a commanding performance by the five dancers of “Bodysuit,” an extraordinary work created by the eternally intriguing Sharon Eyal, purveyor of Gaga, and British artist Georgy Rouy, with Eyal’s husband, Gai Behar, credited as co-creator.
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God of Dance
To Vaslaz Nijinsky, the circle was the embodiment of a complete, perfect movement from which everything in life could be based. The intersection of two circles form an almond-like shape, and express the interdependence of opposing yet complimentary forces—life and death, heaven and earth.
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Tidal Shift
The curtain for “Vollmond,” one of the final works from the late Pina Bausch, created in 2006, opens on a colossal boulder that calls to mind a craggy sea stone, or maybe a hunk of spacerock. It could be either—the title translates to both ‘high tide’ and ‘full moon,’ and its concerns are as earthly as they are cosmic: love, ire, power, the stratospheric stuff of life.
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Made in England
The United States is surreal at this moment. Dancers in black have been circling the Kennedy Center in Washington D.C., performing Pina Bausch’s “Nelken Line” choreography to protest the self-proclaimed dictator making himself chair of the Center’s board. Choreographers are giving up hopes of National Endowment for the Arts funding now that guidelines demand “patriotic” art.
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Truth or Consequences
Los Angeles-based Heidi Duckler, dubbed “Queen of Site-Specific Dance,” and whose Heidi Duckler Dance is celebrating 40 years of transforming spaces through the power of contemporary movement—kudos!—has stepped aside as artistic director, handing the reigns to associate artistic director, Raymond Ejiofor.
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Tanz Your Heart Out
“Tanz” opens on a ballet class like none I’ve ever attended. Onstage are two portable barres and four dancers in rehearsal clothes stretching and warming up. Eighty-three year old ballerina Beatrice Cordua teaches from a wheelchair, naked.
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Begin Anywhere
John Scott Dance's “Begin Anywhere” started in the middle. A dancer walked to the center of the Irish Arts Center's JL Greene Theatre holding a discman, placed it on the floor, and pressed play.
FREE ARTICLEFeatured Reads
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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