World-class review of ballet and dance.
The noise of the day drops away as I make my way to the upstairs studio of Dancehouse. I am one part of an increasingly hushed procession assembled on opening night to experience Sarah-Jane Norman’s “The River’s Children” (2013), and “Take This, For It Is My Body” (2010) paired with “Heirloom” (2013), and Nacera Belaza’s “The Shout” (2008), presented as part of Melbourne Festival.
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2016 marks the 400th anniversary of William Shakespeare’s death, and the year has seen artistic tributes pour in from around the world: film festivals, art exhibitions, publishing initiatives, theatre takeovers. Birmingham Royal Ballet is responsible for one of the most extensive dance offerings: a dedicated Shakespeare Season featuring 80 performances of seven Bard-inspired ballets, including a new evening-length reworking of “The Tempest” from artistic director David Bintley.
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Grupo Corpo, the Brazilian contemporary company, gave one performance in Austin, sandwiched by stops in Minneapolis and New Orleans, and between engagements in New York City and Europe. I can imagine that these one-nighters blur together for the members of the group, distinguishable only by hotel and theater amenities and the receptiveness of the audience. But for Austin audiences, who have had the opportunity to see the company once every few years since 2008, thanks to programming by the University of Texas, each of these rare performances is distinct. The two ballets on this program, both created for the company...
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Down, instead of up. That is how things fall when they are dropped. But in the worlds of circus and dance, the body doesn’t have to give the appearance of being a servant to gravity. In the worlds of circus and dance, the body can defy gravity. And gravity is what pulls three pieces by three different choreographers together in Les 7 Doigts’ “Triptyque,” presented as part of Melbourne Festival at the Playhouse late on a Sunday afternoon. A swirling galaxy is made, beginning with Marie Chouinard’s “Anne & Samuel,” and Victor Quijada’s “Variations 9.81,” before pulling up the bed covers...
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It isn’t as mainstream as the Opera Garnier’s season opening. Facing the Théâtre du Châtelet, the Théâtre de la Ville hosts a yearly festival as fall takes its toll on yellowish leaves of Haussmann boulevards. In spite of its great media coverage by contemporary dance enthusiasts and low pricing policy, Le Festival d’automne, is something of a well-kept secret. The 2016 edition is dedicated to Lucinda Childs’ postmodern vibes, featuring her famous piece, “Dance” the evening of the premiere. When first performed in 1979, “Dance” met with mixed reception. Later, it earned the status of ‘masterpiece’ and it’s rare to read...
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George Balanchine’s “Jewels” will turn 50 next year. It was, and still is, a ballet like no other; a perfect night at the theater and a great introduction to the art of Balanchine.
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Crawling with hipsters, scenesters and lipstick lesbians, the funky warehouse in L.A.’s up-and-coming neighborhood, Frogtown, recently served as a performance space for WIFE’s apocryphal “Enter The Cave.” The hometown female trio—Jasmine Albuquerque, Kristen Leahy and Nina McNeely—had presented the first act of “Cave” at the Hammer Museum last June to what can only be called adoring throngs.
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It feels as if Carlos Acosta has been saying a rather long farewell to classical ballet—his 2015 farewell performance “A Classical Selection,” marked his departure from the Royal Ballet, along with his own production of “Carmen”—but this, it seems, is Acosta’s true farewell to classical dance. While Acosta will not be retiring from dance entirely (he will continue to dance in contemporary works and pursue a role as choreographer and director), his emotional curtain call proved just how much saying ‘farewell’ to classical dance means to a man who has become an icon of the ballet world.
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Tonight's little surprise, a small bonus routine, comes in the form of dancer and choreographer Jack Webb's incredible new work “Drawn to Drone,” performed by soloist Christopher Harrison and with a hypnotic soundscape by Webb himself. Using two white chairs only, Harrison enters the space, methodically strips down to underwear and sits on the lined-up chairs, tentatively stretching and contorting his limbs, which seem to move independently of his body. His arms and legs raise up in slow motion, and the focus is entirely concentrated on the geometric shapes he creates. He seems like an astronaut on a space flight...
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I had the fortune to sit next to two very charming and chatty longtime Smuin fans for the company’s San Francisco run of its fall triple-bill. David and Dan, let’s call them, are in my experience representative of the 16-dancer troupe’s loyal base. They relish connoisseurship of the Bay Area arts in general, and just that week also attended the San Francisco Opera and American Conservatory Theater. For more than a decade they subscribed to front-row dress circle seats at the San Francisco Ballet—“until the board ousted Michael Smuin for that boring new director”—Helgi Tomasson. Under Tomasson, they said, “suddenly...
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The premiere of the new ballet season celebrated the Paris corps de ballet with a triple bill dedicated to its century-long grandeur. Yet the traditional défilé—a grandiose opening—looked at odds with the following minimalist pieces. Versatility or schizophrenia? The 300-year old company still suffers from identity disorders. Tino Seghal's “Sans Titre” (untitled piece) was the most obvious warning sign of such disarray. One can only hope that erratic mixed bills will soon be gone with the wind.
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New York City Ballet’s spectacular bill “Balanchine x Vienna” presented during the company’s fall season at David H. Koch Theater in New York comprised three ballets: the effervescent “Divertimento #15,” the astringent and haunting “Episodes,” and the theatrically engrossing “Vienna Waltzes.” This stylistically diverse program revealed various facets of the choreographer’s genius, giving us Balanchine the classicist, the modernist and the showman. As the title suggests, the program also paid homage to Vienna, featuring music of five composers—Mozart, Webern, Johann Strauss II, Franz Lehár and Richard Strauss—whose life and career had close ties to the city that for centuries has...
Continua a leggereLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
Continua a leggereIt is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Continua a leggereAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Continua a leggereOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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