Collective Growth
What would the story of Alice in Wonderland look like if it was reimagined by a group of women?
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Tangled up in Blue
The show starts outside the theater. A car, with its right rear window busted out, pulls up, music blaring, bass turned up.
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Lucky Thirteen
Four distinct works, their creation initiated by a shared prompt. Four choreographers, plus time, space, and the ten dedicated contemporary ballet artists of Amy Seiwert’s company, Imagery.
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Runners
Who doesn’t love the circus—especially nouveau cirque? With its unclassifiable blend of genres, it reflects so much of what it means to be human—the comedy, absurdity, beauty, sadness, delight, and more.
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Momentum
“This is historical,” Ballet22 co-founder Theresa Knudson told the audience between works on the company’s latest program, “Momentum.”
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Vignettes of 50 years
Pilobolus has become synonymous with pushing boundaries, both in the physical and the thematic. The company’s run at New York City’s Joyce Theater, which culminated their Big Five-OH! Tour—a belated-by-Covid celebration of the company’s 50th anniversary—was a reaffirmation of this mission.
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Mark Morris Makes History
When Mark Morris Dance Group comes to the Joyce Theater August 1-12, the two-week engagement will be one for the dance history books.
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Relative Calm
Lucinda Childs/Robert Wilson's “Relative Calm” (1981/2022) opened the six-week long ImpulsTanz Vienna International Dance Festival in its the 40th anniversary on July 7 at Vienna's Volkstheater.
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High Concepts and Power Moves
There is packaging, topicality, grand themes, elaborate stage designs, high concepts. And then there are moments when the flesh and blood power of dance itself—the presence of a lone body channeling transcendent purpose—leaves you reeling.
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Finding Community
Community was a common theme in the Summer Sampler presented by ODC/Dance in July, with premieres by Dexandro Montalvo and Sonya Delwaide, along with recent work of company founders Brenda Way and Kimi Okada.
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One Dance
In Seoul, South Korea, at the Jongmyo shrine, a royal ancestral ritual of prescribed music and dance is performed annually. The tradition to praise and honor the ancestors of the Joseon Dynasty (1392-1910) has been kept for over 600 years.
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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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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.
Continua a leggere