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An Original Alice
REVIEWS | Di Gracia Haby

An Original Alice

It takes “layers and layers of tulle together in a honeycomb construction that opens up when it closes”[note]Senior Gentleman’s Cutter, Marsia Bergh, in conversation with Kate Scott, “Making Wonderland,” Alice’s Adventures in Wonderland programme, The Australian Ballet, State Theatre, Melbourne, 2017, 22[/note] to make a tail that befits a White Rabbit. It takes countless hours (of drafting, devising, twinkling, rehearsing, measuring, stitching, and repeating thrice) to create a world of nonsense in every sense and this is as it should be.

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Coming on in Leaps and Bounds
REVIEWS | Di Lorna Irvine

Coming on in Leaps and Bounds

Group dynamics are the key focus in Anne Teresa de Keersmaeker's explosive “Rain,” which responds to the classic "Music for 18 Musicians" (1974-6) by American avant-garde composer Steve Reich. It is of course not the first time she has worked with Reich's music, as her company Rosas have previously performed to "Drumming," another seminal Reich piece. It's a perfect fit, as she is a deeply lyrical choreographer, fully cognisant of the nuances and textures of Reich's oeuvre: the rhythmic shifts, throbs, hums and waves; the voices which pulse like heartbeats. She really puts her dancers through their paces—it's almost as...

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Nightdance
REVIEWS | Di Gracia Haby

Nightdance

A stagehand dressed in black makes the most of their invisibility cloak to move props into position. The great horned owl makes the most of their night vision to seek out their prey with efficiency. Swoop, snatch, gobble, gone. A human night owl stays up late, night adapted, like their namesake, their form revealed only by the screen’s cold glare as they tap at the keyboard. Wrangling deadlines, devouring novels, gambling their savings, postponing the activities of the day—who knows? Such is the endless allure of nocturnal creatures.

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Future Tense
REVIEWS | Di Lorna Irvine

Future Tense

Forward-thinking London-based urban dance collective Blue Boy Entertainment's superb show is so titled with a deliberate mis-spelling, as according to their co-Artistic Director Michael 'Mikey J' Asante: “The names are written the way they are because they could be the names of people”—a deliberate tactic to avoid racial connotations and stereotyping, from the racially diverse company.The colours are rooted in universality, tightly packed in themes of identity, war, and survival, which touch everyone. It is a thrilling call for peace and tolerance.

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Allegro Brillante
REVIEWS | Di Victoria Looseleaf

Ballet Now & Then

What do a clown and a ballerina have in common? Plenty, as it turns out, if, that is, the clown is none other than the masterful Bill Irwin and the terpsichore is New York City Ballet principal Tiler Peck, curator of BalletNOW, a trademarked, quasi-gala that features leading dancers from New York City Ballet, American Ballet Theatre, Miami City Ballet, the Royal Ballet and Paris Opera Ballet in three diverse, tasting-menu type programs.

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Brenda Way
INTERVIEWS | Di Penelope Ford

The Way Forward

It was my first visit to the Dance Commons, home of ODC/Dance nestled in San Francisco’s Mission District. Brenda Way, artistic director of ODC, looking summery on this Friday morning despite a bandaged ankle (nothing serious, routine dancer injury), met me in the foyer and took me on a tour.

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A Sweet Debut
REVIEWS | Di Oksana Khadarina

A Sweet Debut

Two new ballets created by Alexei Ratmansky were unveiled by two major ballet companies in New York this spring season: New York City Ballet premiered “Odessa” during Here/Now Festival at the David H. Koch Theater; and American Ballet Theatre presented “Whipped Cream” at the Metropolitan Opera House. (This was a New York premiere of “Whipped Cream.” The ballet was first performed by ABT in March at the Segerstrom Center for the Arts in Costa Mesa, California.)

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Gustavo Dudamel
REVIEWS | Di Victoria Looseleaf

Starry Night

Celebrating the opening of its 96th season at the iconic Hollywood Bowl, the Los Angeles Philharmonic, under the baton of the esteemed Gustavo Dudamel—his eighth season as the orchestra’s music and artistic director—offered an uneven program of ballet and music, some thrilling, some head-scratching, all begging for more, however.

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Through Tatiana's Eyes
REVIEWS | Di Oksana Khadarina

Through Tatiana's Eyes

“Tatiana, dear Tatiana! / I now shed tears with you. / Into a fashionable tyrant’s hands / your fate already you’ve relinquished. / Dear, you shall perish; but before, / in dazzling hope, / you summon obscure bliss, / you learn the sensuousness of life, / you quaff the magic poisons of desire…”

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Let There be Light
INTERVIEWS | Di Penelope Ford

Let There be Light

“I am the daughter of two immigrant parents from Venezuela and I was born in the United States. I happen to be very fair, blonde, blue eyes but I just got all the recessive genes in the family, basically,” Sasha De Sola beams.

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In the Music: Julia Rowe
INTERVIEWS | Di Penelope Ford

In the Music: Julia Rowe

“I grew up in a rural area of South Central Pennsylvania. The arts aren’t a big thing there but my parents are actually both in the arts. My father plays the oboe in the Harrisburg Symphony Orchestra in Pennsylvania.” For Julia Rowe, soloist with San Francisco Ballet, it's all about the music.

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