Questo sito non supporta completamente il tuo browser. Ti consigliamo di utilizzare Edge, Chrome, Safari o Firefox.

Latest

It's Only Rock and Roll
REVIEWS | Di Merli V. Guerra

It's Only Rock and Roll

It’s difficult to be the most memorable piece of the night when flanked by George Balanchine’s blissful “Chaconne” and Jiří Kylián’s seminal “Bella Figura,” yet Stephen Galloway’s new work “Devil’s/eye” rose to this challenge and exceeded all expectations. Set to five songs by The Rolling Stones, “Devil’s/eye” is a joyous celebration of sizzling sensuality and vibrant individuality. Boston Ballet’s dancers performing to rock and roll, you might ask? Yes, and it works!

Continua a leggere
Keeping the Faith
INTERVIEWS | Di Victoria Looseleaf

Keeping the Faith

If there’s a secret to keeping a dance company together for more than 50 years, Garth Fagan knows what it is. Indeed, his Rochester, NY-based Garth Fagan Dance was founded in 1970 (first called Bottom of the Bucket, BUT…Dance Theatre), and, at 81, Fagan, who was born in Kingston, Jamaica, has no plans to retire.

Continua a leggere
Vamos a la Playa
REVIEWS | Di Marina Harss

Vamos a la Playa

Sarasota Ballet is known for its scrupulous renditions of ballets by Frederick Ashton and other British choreographers, as well as for its general excellence in classical dance. What it is less known for is commissioning new works from living choreographers. Which makes its new “A Comedy of Errors,” which premiered at the Van Wezel Performing Arts Hall on March 26th, all the more remarkable.

Continua a leggere
Pandemic Punk
REVIEWS | Di Faye Arthurs

Pandemic Punk

When I heard that Karole Armitage had packaged her latest creations as “A Pandemic Notebook,” I was intrigued. What exactly does a punk ballerina/director/choreographer get up to during a long cultural shutdown? As is her wont, a lot. And though she did succumb to one straightforward pandemic trope, in “6’ Feet Apart” (the only clunker on the bill), she mostly took the big themes of the past few years—disease, Trump, nature, celebrity—and filtered them through her smart and eclectic lens. At New York Live Arts last week, her Notebook entries were presented as a series of short works alternating between...

Continua a leggere
Precious Gems
REVIEWS | Di Valentina Bonelli

Precious Gems

Last seen at La Scala in 2014, George Balanchine’s “Jewels” returned on stage this season, coincidentally like many other companies around the world: the New York City Ballet and Royal Ballet, not to mention the Bolshoi Ballet and the Mariinsky Ballet.

Continua a leggere
Colorful Overtures
REVIEWS | Di Victoria Looseleaf

Colorful Overtures

Calling all dance junkies! Seriously, after being deprived of live performances for more than two years—save for the occasional outdoor terpsichorean pleasure—Angelenos were treated to heavy doses of balletic feasting when Hamburg Ballet made its debut at the Music Center this month.

Continua a leggere
Stepping Out
REVIEWS | Di Cecilia Whalen

Stepping Out

The Joyce Theater celebrated St. Patrick's Day with a riveting and rhythmic run by the midwestern Trinity Irish Dance Company. The company, under the direction of founding artistic director Mark Howard, claims to be the birthplace of “progressive Irish dance,” a genre which uses traditional Irish step dance in contemporary choreographies alongside both traditional and contemporary music. The company presented a number of short pieces, mainly by Howard, as well as one new commission by tap stars Michelle Dorrance and Melinda Sullivan.

Continua a leggere
The Nutcracker on Ice
FEATURES | Di Chava Pearl Lansky

The Nutcracker on Ice

While Isa Braun slogged through her workday on January 10, she kept overhearing people asking each other if they were going to the ballet later that night. Ordinarily, this would have been normal for Braun; until October of 2021, she was a freelance dancer living in New York City and working in an administrative position at School of American Ballet. But in January, Braun’s job was that of a dishwasher—and her residence? McMurdo Station, Antarctica.

Continua a leggere
Family Ties
REVIEWS | Di Gracia Haby

Family Ties

At a train station of the St Petersburg Railway, I arrive. A prologue, in Moscow. In the State Theatre, first viewing. Live streaming on Ballet TV, the second. As the engine smoke clears, I get my bearings. Taking my seat on the platform, in both audiences, I am rendered diminutive. The station is a vast cavern, looming overhead. It is a projection, but it is so cinematically real in its rendering. I might be experiencing the Australian Ballet’s new co-production with the Joffrey Ballet of Yuri Possokhov’s “Anna Karenina,” but I am also visiting a friend: Tolstoy’s timeless literary work....

Continua a leggere
Dance Party
INTERVIEWS | Di Josephine Minhinnett

Dance Party

Andrew Tay has a kaleidoscopic vision for what dance can do. As a choreographer, dance curator, performer, and DJ in Montreal for the past 20 years, he has bridged diverse audiences and artistic communities through his multidisciplinary dance events that sit somewhere between a conversation with a stranger, interactive art installation, and late-night party.

Continua a leggere
Ripple Effect
REVIEWS | Di Gracia Haby

Ripple Effect

Things open where they began, in a loop, only I don’t know it yet. In measured steps, Angela Goh walks diagonally across the stage. She studies the audience, her focus fixed, unblinking. Upon an exposed, brightly lit stage, it could be said she is comparatively exposed, but her unflinching focus says otherwise. In the quiet of the Sylvia Staehli Theatre, at Dancehouse, for the opening night performance of “Sky Blue Mythic,” you can hear the noise of the traffic outside. In a work that “is about our relationship to what surrounds us,”[note]Angela Goh, “Sky Blue Mythic” Artist Statement, Dancehouse, https://www.dancehouse.com.au/wp-content/uploads/2022/03/Sky-Blue-Mythic-Artist-Statement.pdf,...

Continua a leggere
Objects, Obstructions, Objections, Objectives
REVIEWS | Di Lorna Irvine

Objects, Obstructions, Objections, Objectives

How do dancers with disabilities navigate space? Who is defining space for disabled dancers? What are the objects that obstruct, block and blur? How do we define choreography within the framework of disability? Candoco Dance Company are, as ever, refining and redefining what it is to move in space, and how dancers of various abilities navigate this in their practice. They ask the questions that make other people shy away, because society is still not comfortable with disability. As an arts critic recently diagnosed with a disability, I became increasingly aware during lockdown of how I interact with day to...

Continua a leggere

Featured Reads

REVIEWS | Rachel Howard
Starry Nights

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.

Continua a leggere
Good Subscription Agency