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Ashton in New York
REVIEWS | Di Chava Pearl Lansky

Ashton in New York

In summarizing Sir Frederick Ashton’s oeuvre in 1961, celebrated critic Clive Barnes writes, “For all this his ballets are best seen from above.” In Covent Garden, Barnes continues, his favorite seat from which to view Ashton’s work is “from gallery right at the top of the house.” Although New York City audiences had the chance to catch a rare glimpse of Ashton’s choreography last week, thanks to Sarasota Ballet, the venue—the Joyce Theater—lacked the depth and perspective to really do his ballets justice. With its unadulterated sight lines, the intimacy of the Joyce is usually a joy for viewers. But...

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BAAND's Toddlerhood
REVIEWS | Di Faye Arthurs

BAAND's Toddlerhood

For the second year in a row, Ballet Hispánico, Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet, and Dance Theater of Harlem came together for a week of free performances at the Damrosch Park Bandshell. There were way too many titles and slogans involved: it was officially the BAAND Together Dance Festival within Lincoln Center’s Summer for the City Festival, for which the tagline was: Remember, Reclaim, Rejoice. These phrases were plastered around the stage and surrounding areas. More simply, these shows are Lincoln Center’s attempt to create a summertime version of City Center’s successful Fall...

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For Mythili Prakash, Bharatanatyam is Personal
INTERVIEWS | Di Karen Greenspan

For Mythili Prakash, Bharatanatyam is Personal

Squeezing in as much time as possible together in the dance studio, Mythili Prakash and her collaborating musicians are rehearsing their new work “Poo | Poo” for the Erasing Borders Dance Festival. Presented annually in New York City by the Indo-American Arts Council, the festival, this year, is celebrating India’s 75th anniversary of independence. Four days away from the premiere, Prakash and her musicians are still figuring out the ending. But that may be because of the collaborative nature of this endeavor (as well as the fact that half of them were stricken with Covid during one of their dedicated...

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Every Witch Has a Story
REVIEWS | Di Karen Hildebrand

Every Witch Has a Story

Some might consider that a circus tent deep in the Berkshire mountains, with a full moon rising, might prove adequate to evoke a gathering of witches. With the tent sides propped open to frame glowing sections of the woods outside, it was as if we had indeed joined a witches celebration in the forest. Despite this setting for her sold-out premiere of a long anticipated “Wicked Bodies,” Liz Lerman wasn’t taking any chances of leaving her audience in the dark. The evening began as an interactive experience to prepare us. Approaching the performance tent, we first encountered an altar designed...

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Inspiration in Mexico
FEATURES | INTERVIEWS | Di April Deocariza

Inspiration in Mexico

On a hot July Sunday in Monterrey, Nuevo León, Mexico, young dancers and their families are crowded outside the Teatro de la Ciudad awaiting to take master classes with renowned Mexican dancer, Isaac Hernandez. The excitement is palpable. A proud father captures video of his son on his phone, as he tells the camera about the class he is about to take. Scenes like this may be common in cities like New York or London, where ballet, and the arts in general, have found their stronghold. But for Hernandez, it’s something he has devoted the last decade to forging. 

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New Verse
REVIEWS | Di Gracia Haby

New Verse

Under a sturgeon supermoon, I head to Transit Dance in Brunswick, to see the Australian Ballet’s annual Bodytorque program of new contemporary works. Were I in a different hemisphere, such a bright night would symbolise the start of the harvest season, which, I guess, is true of the Bodytorque choreographic showcase: a gathering of crops, this year from Jill Ogai, Mason Lovegrove, Timothy Coleman, Serena Graham, Benjamin Garrett, and winner of the 2020 Emerging Female Classical Choreographer, Xanthe Geeves.

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Art Meets City
REVIEWS | Di Faye Arthurs

Art Meets City

I will see anything with the choreographer Kyle Abraham’s name attached to it, and so I attended the premiere of “Reunions”—a free, outdoor dance festival set on a makeshift stage squeezed between the edge of the Paul Milstein Pool and Hearst Plaza at Lincoln Center. That Abraham’s name was attached was pretty much all I knew going in. He curated the program, which consisted of new works made by alumni from his company, A.I.M. It is rare, as a reviewer, to have so little foreknowledge of an assignment. And it was more mysterious yet when I arrived to check in...

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Into the Wild
INTERVIEWS | Di Lorna Irvine

Into the Wild

Dancer, choreographer and musician Mavin Khoo's career straddles many disciplines, from Bharatanatyam (he is a leading soloist in the artform) and Odissi, to classical dance, and Cunningham technique at the Cunningham Studios, New York. He has worked with Wayne McGregor, Christopher Bannerman and most recently, has become the coach and creative associate to Akram Khan as part of the prestigious Akram Khan Company. Lorna Irvine caught up with him ahead of the live performance of “Jungle Book reimagined” at Edinburgh Festival Theatre as part of Edinburgh International Festival in August 25-28, 2022.

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In the Night
REVIEWS | Di Rachel Howard

In the Night

That eerie post-Covid time warp—are we moving forward or stuck in a loop?—prevailed on a windy summer night as former San Francisco Ballet artistic director Helgi Tomasson took the stage of Stanford University’s Frost Amphitheater and explained that the program would begin with his old staple set to Bach keyboard works, “7 for Eight.”

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Booksmart
REVIEWS | Di Victoria Looseleaf

Booksmart

While books are being banned and burned in the States, and the political climate continues to roil, one can take solace in art. Especially the art of Butoh master and Los Angeles treasure, Japanese rice-farmer-turned-dancer Oguri, who’s been making dances in Southern California since 1990. And what dances they are: From site-specific work that has included the phenom exploring the connection between humans and the Getty Center’s architectural environment, to his ongoing series, “Flower of the Season,” in which he tackles subjects as diverse as Ikebana, the Japanese art of flower arranging, to “Caddy! Caddy! Caddy!” inspired by William Faulkner’s...

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Paul Taylor Forever
FEATURES | Di Apollinaire Scherr

Paul Taylor Forever

Paul Taylor’s early dances—confined to a handful of players whom he still couldn’t afford to pay—fit comfortably on the Joyce stage this June in the troupe’s first independent outing since the pandemic. (In March, the company appeared under the auspices of the City Center Dance Festival.) “Events II” (1957), three solos from “Images and Reflections” (1958), “Fibers” (1961), and “Tracer” (1962) also fit their long-ago moment and its strict avant-garde. But what they didn’t fit was the oft-told tale of how Taylor got from obscure beginnings to popular success.

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How It Started, How It’s Going
REVIEWS | Di Candice Thompson

How It Started, How It’s Going

In the archives at Jacob’s Pillow a 1948 video of Talley Beatty performing “Mourner’s Bench,” plays on a loop. In the space of a couple minutes, Beatty moves fluidly through wave-like motions, contracting and extending his body with a coiled intensity searching for release. The black and white footage is silent and flickering, and it is difficult to make out the expression on his face. Watching it over and over, I am struck by how Beatty continues to rise up with a Phoenix-like quality, eventually lifting up so much he executes a precarious one leg balance and promenade on top...

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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.

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