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

Latest

Raucous and Wrenching
REVIEWS | Di Candice Thompson

Raucous and Wrenching

Presenting a curious combination of repertoire and new work on April 9th, Martha Graham Dance Company’s 96th season continued this spring as part of the City Center Dance Festival, which also featured Paul Taylor, Ballet Hispanico, and Dance Theatre of Harlem. Including a Martha Graham classic, a world premiere from UK-based choreographer Hofesh Shechter, and the New York premiere of a dance that actually merged archival choreography from Graham with contemporary choreographers, the evening showcased the undiluted power of the Graham technique, as well as its limits, particularly when applied to new, looser-limbed movement vocabulary.

Continua a leggere
Sex and Insensitivity
REVIEWS | Di Lorna Irvine

Sex and Insensitivity

With the dust settling on the recent infamous UK royal family allegations around Prince Andrew, Scottish Ballet's artistic director Christopher Hampson and director Gary Harris' adaptation of the controversial Kenneth MacMillan ballet from 1978 feels timely indeed. Based on a true story which shocked society to the core, the plot centres on the wanton destruction in the royal court of Austria in 1889 caused by the Crown Prince Rudolf, his many mistresses, wife, and his ultimate demise. It's a wild study in toxic masculinity in general.

Continua a leggere
Identity Embraced
REVIEWS | Di Candice Thompson

Identity Embraced

During the artist talkback after #QueerTheBallet’s April 5th show, as part of the Joyce Theater’s season at the new Chelsea Factory, artistic director Adriana Pierce proposed a thought exercise: consider the gendered nature of the pointe shoe, particularly in reference to partnering. The person not on pointe is able to be more grounded, and that stability and connection to the floor necessarily confers agency to that dancer. That agency is then often utilized in an unequal relationship with the dancer in pointe shoes, who has less friction with the floor and is set up best to be manipulated (turned, lifted,...

Continua a leggere
War & Peace
REVIEWS | Di Cecilia Whalen

War & Peace

In his piece, “The Green Table,” which the Paul Taylor Dance Company presented for one-night-only at the 92Y on April 6th, Kurt Jooss depicts a group of ten nasty gentlemen at a conference. They discuss the world situation, lightly jumping on and off the table, making presentational gestures, and offering mixed applause for one another's bright ideas. Dressed in black suits and disgusting, balding masks with distorted faces, the gentlemen are a farce of politicians and diplomats who seem to start wars for sport. Jooss created “The Green Table” in 1932 reflecting on the disastrous Great War as his native...

Continua a leggere
Springy Pizzazz
REVIEWS | Di Sara Veale

Springy Pizzazz

All hail the marching ensemble, a brigade of bouncing hips and outstretched arms, palms flexed and chins thrust to the sky! With its pop soundtrack and bold rearrangements of the classical lexicon, English National Ballet’s “Forsythe Evening” celebrates bravura in ballet, pairing two recent works from William Forsythe that emphasise the accessible side of the art form—the spectacular feats and showboating performances that create excitement in any audience.

Continua a leggere
A Touchstone of Sanity
REVIEWS | Di Merilyn Jackson

A Touchstone of Sanity

Although seemingly an evening of classical ballet, Philadelphia Ballet’s mid-March run at Philadelphia’s Academy of Music, “Bold, Brilliant, Balanchine” was a program where history, politics, race, gender issues and global affairs coalesced merely by virtue of the loaded times we live in. Artistic Director Ángel Corella conceived the program which opened with Georges Bizet’s “Symphony in C” some time ago, yet his choices deeply relate to current events. Among the threads to follow are how the concert’s three ballets depend on the creative talents of women (it was Women’s History Month after all) and Russia’s invasion of Ukraine.

Continua a leggere
Dancing in Time
REVIEWS | Di Róisín O'Brien

Dancing in Time

Time is of the essence at the Royal Opera House this spring. It hazily drifts past in Kyle Abraham’s “The Weathering;” it brutally constrains the dancers in Crystal Pite’s “Solo Echo;” and in Christopher Wheeldon’s “DGV: Danse à grande vitesse,” journeys and travel through the eras come to the fore.

Continua a leggere
Connecting the Dots
REVIEWS | Di Rachel Howard

Connecting the Dots

Recently, when a fellow San Francisco-based critic told me how much he had “resented” watching dance on screen during the pandemic, I had to say that for me there had been an upside: getting to know Pacific Northwest Ballet.

Continua a leggere
Dancing Together
INTERVIEWS | Di Cecilia Whalen

Dancing Together

Sam Pratt and Amadi Washington have been dancing together since they were ten years old. The dancer/choreographer duo known as Baye & Asa, who are 2021/22 Artists in Residence at the historic 92Y and have recently completed a commission with the Los Angeles-based Bodytraffic, met in elementary school as students at the prestigious Dalton School in New York City. Their first dance class together was in fifth grade.

Continua a leggere
Past Meets Present
FEATURES | INTERVIEWS | Di Lauren Wingenroth

Past Meets Present

Claudia Schreier’s “Passage” for Dance Theatre of Harlem was commissioned to mark the 400-year-anniversary of the arrival of the first enslaved Africans to Virginia in 1619. But to think of “Passage” as a commemoration, or as a historical piece, doesn’t do justice to its purpose or its power.

Continua a leggere
The Voice Within
INTERVIEWS | Di Sophie Bress

The Voice Within

When Seibi Lee discovered Kathak, at first, she says she almost didn’t know what happened. Up until that point, her life—at least in terms of her career—was that of a typical 20-something: exploring, learning, and trying out multiple options in hopes of finding the best fit. Then along came Kathak, merging her multiple life paths and bringing a clarity and confluence that she hadn’t felt before.

Continua a leggere
Light, Color, Joy
REVIEWS | Di Candice Thompson

Light, Color, Joy

Mark Morris Dance Group delighted the audience at Brooklyn Academy of Music on Thursday, March 24th, with the return of “L’Allegro, Il Penseroso il Moderato.” The performance was a reminder of the reassuring effects of good repertory: coming once again, like spring, to revive us with light, color, and joy.

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