World-class review of ballet and dance.
Looking down into the rotunda from the spiral ramp of New York’s Guggenheim Museum can be dizzying. My perch tonight is located two-thirds of the way to the top—and it’s the best view in the house for Lucinda Childs’ Early Works program.
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Push and pull are pretty commonplace commands. You can push someone’s buttons, pull someone’s leg. Somehow we always manage to conflate the two when facing a door in a public place.
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The Wade Thompson Drill Hall at the Park Avenue Armory is a yawning, cavernous space. In its depths, even the fiercest applause can be rendered a mere din, sounding hollow and unappreciative.
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Noé Soulier’s “The Waves” ran for two nights at the Joyce Theater in early March as part of the Dance Reflections Festival by Van Cleef & Arpels.
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In transparent specimen bags, arranged in a circle, float Lemon Myrtle, Warrigal Greens, and Red Bottle Brush.
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Where language falls silent, dance speaks. That is the case for balletic interpretations of Shakespeare’s great works—particularly Lar Lubovitch’s three-act “Othello,” choreographed for American Ballet Theatre in 1997.
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Like most new adaptations of existing story ballet classics, the world premiere of artistic director James Sofranko’s “Swan Lake” for Grand Rapids Ballet retained the bones of the original it was based on.
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Shakespearean purists, leave your expectations at the door. With his rendition of Sergei Prokofiev’s “Romeo and Juliet,” first staged in 2009 to mark the 10th anniversary of K-Ballet Tokyo, Tetsuya Kumakawa plays freely with details from Shakespeare’s tragedy to create a psychological, theatrical study of doomed love.
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Only three years after its premiere at Cork’s Midsummer Festival, Philip Connaughton finds his work of epic proportions, “Trojans,” in the hands of Luail.
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From charming stagings for children to edgy dance theater, Un Yamada Company, a creative collective based in Tokyo, has built a reputation for consistently innovative productions.
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For much of “Romeo & Juliet Suite,” Benjamin Millepied’s stripped-down take on the Sergei Prokofiev ballet—billed as a gender-bent, “contemporary, site-specific” version of Shakespeare’s classic—I find myself thinking of a different play by the bard. Specifically, the direction in The Winter’s Tale: “Exit, pursued by a bear.” Most of the drama here, after all, happens offstage.
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Montreal based choreographer and artistic director, Virginie Brunelle’s eponymously named company performed its 2022 “Fables” at Penn Live Arts Zellerbach Theatre series on the brink of Women’s History month.
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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