Screen Time
Ever since Thomas Edison hand-tinted the swirling skirts of modern dance pioneer Loïe Fuller in the film version of the 1905, Danse Serpentine, there’s been an interest in capturing this most ethereal art form on celluloid.
FREE ARTICLEWorld-class review of ballet and dance.
Ever since Thomas Edison hand-tinted the swirling skirts of modern dance pioneer Loïe Fuller in the film version of the 1905, Danse Serpentine, there’s been an interest in capturing this most ethereal art form on celluloid.
FREE ARTICLEI was nowhere near the Theater District last week, yet I saw a variety of Broadway-inspired dancing.
Continua a leggerePacking 31 performances into just over two weeks, San Francisco Ballet’s “Nutcracker” season is a grueling marathon for the corps dancers, and at the same time a field of opportunity for rising talents.
FREE ARTICLE“Love and Legacy”—a fitting title to honour the end of Li Cunxin’s tenure as artistic director at Queensland Ballet.
FREE ARTICLEIt may be unusual to imagine an ostrich in New York City, but it's certainly not unbelievable. New York's not all pigeons and rats.
FREE ARTICLE“Century,” Amy Hall Garner’s joyful new work for the Alvin Ailey American Dance Theater, was crafted as a present for her grandfather on the eve of his 100th birthday. Such a personal gesture is unusual for a guest choreographer, but birthday ballets are certainly not out of place at the AAADT.
Continua a leggereIsadora Duncan. Doris Humphrey. Pauline Lawrence. These are the spirits invoked by artistic director Dante Puleio for “Women’s Stories.”
Continua a leggereThe Sarasota Ballet is nothing if not ambitious. Under the artistic leadership of Iain Webb and Margaret Barbieri, the company has performed large nineteenth-century works like “La Sylphide” and “Giselle,” but also major works by Frederick Ashton like “La Fille Mal Gardée” and assorted ballets by Kenneth MacMillan, Antony Tudor, Paul Taylor, and George Balanchine.
Continua a leggereIn one corner of the black-box stage, three musicians adjust their instruments: drums, double bass, clarinet. As each performer enters barefoot, they set down a pair of sneakers with toes lined against the back wall.
Continua a leggereThe Tiffany Mills Company and Ensemble Ipse recently teamed up for a weekend of shows at the National Sawdust Theater.
Continua a leggereIt’s the end of the year! How did we get here? I don’t think I’m alone in the impression that January was just yesterday.
FREE ARTICLEDespite what Fox News wants the rest of the United States to believe about a “doom loop” in San Francisco, the reality in many of the city’s neighborhoods refuses to fit the media spin.
Continua a leggereWatching 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,...
Continua a leggereThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
Continua a leggereBeneath 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.
Continua a leggereAfter 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.
Continua a leggereAn “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