World-class review of ballet and dance.
For four weeks in May, Paris Opera Ballet ran contrasting programs in its two homes: at the smaller Garnier, the POB premiere of Wayne McGregor’s “The Dante Project” and, at the Bastille, a program of three Maurice Béjart works from the 1970s.
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Andrea Miller’s Gallim Dance returned to the Joyce Theater, in New York, with a generous program titled “Bodies of Matter” that celebrated the company’s fifteen years.
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With “Nobody” from Motionhouse, it’s the second half that’s really worth watching; something gets cleared away, and the show focuses in on the performers themselves.
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In other words, “Deep River” was signature King: elongated, oblique moves, accentuated with filigreed arms, and deft and articulated footwork.
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Last year’s School of American Ballet Workshop performances marked two milestones: Suki Schorer’s 50th anniversary as a teacher, and Kay Mazzo’s retirement from the Chair of Faculty position after 40 years.
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The elegance of New York’s City Center theater is a good look for Ballet Hispanico. Artistic director Eduardo Vilaro’s vision to champion the work of Latine choreographers is evident in the four featured artists of this program bill.
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“That was beautiful, but I didn’t get it,” was a refrain Brett Ishida got used to hearing in the audience at dance performances.
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With backgrounds in planning for iconic Japanese fashion brand Comme des Garçons and archiving for the art industry, Tokyo-based consulting office Kleinstein run by Yusuke and Miki Koishi are real-deal intellectuals with a drive and aim to bring art, fashion and performance to the forefront of cultural consciousness.
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The haute joaillerie house Van Cleef & Arpels has a long history of supporting dance, since Louis Arpels attended the Paris Opera Ballet in the 1920s.
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This year’s San Francisco Ballet School Spring Festival offered a moment to say hello to the company’s next generation of dancers, and goodbye to the leader who shaped them: Patrick Armand, who took over the Trainee Program in 2010 and directed the school since 2017, has just stepped down. In the stark architecture of the Blue Shield Theater lobby, glass cases held photos of Armand, during the dashing prime of his Ballet Theatre Francais career, taking bows alongside Nureyev after a performance of Bejart’s “Song of a Wayfarer.” Meanwhile onstage, a pas de deux by school faculty Viktor Plotnikov best...
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And just like that, another spring season has ended at New York City Ballet. There was much to celebrate, in particular the rise of a new generation of dancers. All at once, the company looks renewed. And in particular, the corps de ballet and soloists, individually and as a whole, rose to challenge after challenge, looking technically strong, assured, full of promise, joyful.
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If you thought Akram Khan’s 2016 update of “Giselle”—which resituated the 1841 classic to apply to modern migrant workers in a haunted garment factory—was radical, you should see Joshua Beamish’s 2019 “@giselle,” which takes place almost entirely over social media. I should clarify. This is not an online viewing situation, one watches “@giselle” in-person at an actual theater. (To be specific: the NY premiere of “@giselle” was held at the Gerald W. Lynch Theater at John Jay College.) But projections of Instagram-esque formatting, by Brianna Amore, were cast onto a scrim and framed nearly every scene. The flesh-and-blood performers danced...
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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