World-class review of ballet and dance.
Inspired by a video of Mikhail Baryshnikov, Godwin Merano started his professional ballet training at Canada’s National Ballet School aged 12. Godwin joined Ballet Manila after graduation and has also performed with the Canadian Opera Company in “Rusalka.”
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March 6, 2020 was not an ordinary opening night at San Francisco Ballet. Some patrons inside the War Memorial Opera House wore hospital masks; others counseled fellow audience members to wash their hands a full 20 seconds in the bathroom at intermission. Onstage, the performers in Balanchine’s “A Midsummer Night’s Dream”—not staged at SFB in 34 years—danced as though this were their last night before lockdown, and in the velvet seats, the audience applauded as though we would never see these dancers again. We headed home with our memories of an exquisite performance. And as we slept, the order came:...
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There is a striking clarity and intelligence with which Crystal Pite and Jonathon Young approach narrative. Their combination of choreographer and actor/writer/director is not only dance-theatre gold, but allows for an incredibly rich interplay between words and movement.
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We enter DNK: Space for contemporary dance and performance, and right at the door we are greeted by the three co-creators and performers Aleksandar Georgiev, Zhana Pencheva and Darío Barreto Damas. Smiling and warming up, the dancers thank us for attending the Sofia premiere of their new piece, “dragON aka PONY.”
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Based in London's South Bank, Rambert is one of the world's most celebrated dance companies, creating extraordinary work which finds the sweet spot between iconoclastic and classic. Edinburgh dancer Daniel Davidson joined Rambert in 2013, having previously performed with Scottish Ballet. More recently, Davidson has emerged as a brilliant choreographer in his own right. On stage he is a mesmerising dancer, and with his elegant and statuesque presence, he has a rock star energy, seeming at times to emulate the glamour, rebellion and poise of a young David Bowie. I caught up with Davidson during a break from making creative...
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I am in a dance studio I have danced in for nearly 12 years. I am watching Errol White and Davina Givan show an excerpt from their upcoming work, “Worn.” The studio lights are up. Errol and Davina are wearing their practice clothes, recognisable from the classes they teach. A married couple, they perform an intense duet born from a close embrace that morphs into weaving, fiercely connected patterns.
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Watching Richard Alston Dance Company perform is like visiting a Rothko exhibition. It’s tidy, bright and expressive, confident in what it is and isn’t. And it’s vividly abstract; you can drink in its colour and energy without the heft of narrative interpretation. With an Alston production you have the bonus of musicality, which the dancemaker excels at. On the other hand, ephemerality is part and parcel of the experience. The fleeting nature of dance takes on an outsized presence in this particular programme, the company’s farewell show after 25 years at the forefront of the UK’s contemporary scene.
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Catapult Dance Choreographic Hub launched in Australia’s Hunter Valley just north of Sydney in 2014. Spearheaded by former dancer and dance educator Cadi McCarthy, it champions emerging choreographers, providing the platform that is so elusive for many up-and-coming choreographers, dancers, and composers—space and time to think and create.
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Modern classism meets childlike wonder in Graeme Murphy’s “The Happy Prince.” Murphy is an undisputed tour de force in Australian ballet. Arguably the most successful choreographer produced by our country, he is known for many of his works including “Air and Other Invisible Forces,” “The Silver Rose,” and, most notably, his restaging of “Swan Lake.” Murphy has also had a long and prosperous relationship with the Australian Ballet, so, to see the company begin their 2020 season with “The Happy Prince” is no great shock. The ballet itself, however, is an oddball of curiosities.
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Let’s just call American Ballet Theatre’s world premiere, “Of Love and Rage,” choreographed by the singular Alexei Ratmansky, a terpsichorean orgy of outsized proportions, an all-embracing bacchanalia, if you will.
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Since it was first written and performed in 1596, Shakespeare’s enduring classic, “Romeo and Juliet”—the doomed romance of two teenagers from feuding families—is possibly the most famous love story ever penned. Indeed, its numerous iterations include operas, films, musicals and, of course, ballets, with indelible performances such as the 1966 Royal Ballet production starring Dame Margot Fonteyn and Rudolf Nureyev, choreographed by Sir Kenneth MacMillan, racking up hundreds of thousands of YouTube views in recent years.
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.
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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 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.
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