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Fluidity and Freedom
DANCE FILM | Di Lorna Irvine

Fluidity and Freedom

Commissioned by Fuel and directed by filmmaker JJ Abrahams, this intensely personal film, “Salt & Sugar” for Dance International Glasgow is beautiful, but bracingly unsentimental. At forty, critically acclaimed choreographer and dancer Hemabharathy Palani is looking back and taking stock of her life thus far. This film isn't a linear, autobiographical piece though—it is lyrical and dense, showing Palani dancing, teaching and exercising in a variety of locations, such as forests, shimmering grassy fields and indoors in practice studios.

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New Beginnings
REVIEWS | Di Merilyn Jackson

New Beginnings

What better way to review a newly named ballet company than on World Ballet Day? At almost 60 years old, Pennsylvania Ballet recently changed its name to Philadelphia Ballet. Founded by the late Barbara Weisberger with a Ford Foundation grant in the early ‘60s, it inspired the NEA program that funded regional ballet companies around the country. Weisberger passed in December 2020 and the ballet honored her in its 2021 digital online series. During Covid, artistic director Ángel Corella and the board of directors felt it was time to put a more metropolitan brand on the company.

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A Last High Kick
REVIEWS | Di Ilena Peng

A Last High Kick

Principal dancer Maria Kowroski's first entrance of Sunday’s program was just walking slowly toward principal Russell Janzen in George Balanchine’s “Chaconne.” The audience roared until they reached each other at center stage. That scene was repeated over and over Sunday afternoon, the loudest of them as the curtain went up after the end of “Slaughter on Tenth Avenue.”

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Falls + Dance
REVIEWS | Di Faye Arthurs

Falls + Dance

Chuck Schumer appeared at the opening night of the 2021 Fall for Dance Festival to proudly declare that the Save Our Stages Act passed by the Senate last year rescued all the arts in New York City. I’m not sure that’s entirely accurate, but I didn’t begrudge him the victory lap. And with the return of the live, giddy crowds to City Center for the FFDF, it did feel like business as usual in the dance world for a blissful moment. But when the curtain went up to reveal a massive triangular scaffold with three people dressed as ersatz superheroes...

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Singular and Strong
REVIEWS | Di Rachel Howard

Singular and Strong

“Pacific Northwest Ballet Premiere March 13, 2020,” reads the program note for Alejandro Cerrudo’s “One Thousand Pieces,” and therein lies a pandemic tale. The company premiere of Cerrudo’s ballet was supposed to have taken place on that date last year. But on March 12, 2020, as news of the strange new virus spreading through Seattle filled airwaves and iPhones, artistic director Peter Boal and the PNB staff and board gathered to face what was coming. They filmed the dress rehearsal of “One Thousand Pieces.” And the next day, instead of opening night, the theater fell dark.

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Back to DANCE
DANCE FILM | REVIEWS | Di Candice Thompson

Back to DANCE

Lucinda Childs is considered one of the pillars of the Judson Dance Theater collective and often hailed as a “master of minimalism.” In 1979, she created one of her pure dance works to a score by Philip Glass, while Sol LeWitt contributed film decor featuring the original cast of dancers. Layering rhythms, patterns, and images of dancing bodies, “DANCE”—the result of this collaboration between three art world icons—returns to New York City’s the Joyce Theater October 19-24. Candice Thompson spoke with producers and dancers Caitlin Scranton and Matt Pardo (The Blanket) about why this 40-year old work endures, what it...

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A Farewell Serenade
REVIEWS | Di Ilena Peng

A Farewell Serenade

The opening to George Balanchine’s “Serenade”—dancers standing feet parallel, right arm reaching up with the palm facing out as if to block the light—sometimes looks like a goodbye. It certainly did on Saturday, as 29-year-old principal dancer Lauren Lovette performed for the last time with New York City Ballet.

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Accessibility in Dance
FEATURES | Di Sophie Bress

Accessibility in Dance

At first glance, everything in Salt Lake City, Utah’s Jeanne Wagner Theatre looks relatively typical. Rows of red velvet seats line the two aisles that lead to a dimly lit proscenium stage. Audience members chat in hushed tones as they take their seats. Ushers shuffle programs as they prepare for the show to begin.

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Chaos Within
REVIEWS | Di Sara Veale

Chaos Within

A beast mourning the beauty he could never have—this is the fate of Creature, the protagonist in Akram Khan’s new production for English National Ballet, just as it was for Quasimodo, King Kong and the canon’s other brutes before him. An apparatus fashioned to withstand the harsh conditions of some indeterminate final frontier, Creature unites mechanical might and human brainpower, a combo that eventually fells the military operation he was designed to bolster. His keeper Marie is the only person who treats him with compassion, but it’s not enough to save either of them from a grisly end. Once the...

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Water on the Water
REVIEWS | Di Faye Arthurs

Water on the Water

Leave it to Mark Morris to debut his new piece, entitled “Water,” right alongside the East River, at the very tip of Pier 1 in Brooklyn Bridge Park. The score was by Handel, whose “Water Music” was composed for King George I in 1717 and meant to be played on a barge during a royal joyride along the Thames. Uncharacteristically for Mark Morris, the music for this debut was recorded and not live. But the extra percussion added by the helicopters, coast guard boats, ferries, and jet skis was most definitely in-the-moment, and heavy on improv. Despite these distractions, “Water”...

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Deep Dive
REVIEWS | Di Cecilia Whalen

Deep Dive

To look at the ocean can be deceiving. With feet planted in the sand, facing the horizon, we think we know where we are; the tide signals for how long. To look into the ocean is a different story: Looking in offers no sense of start and stop, no sides to stand on, no tide nor time. Looking in confronts us only with an endless sense of motion encompassed by a larger unknown. Bill T. Jones's long-awaited “Deep Blue Sea,” a work massive in both size and depth and presented at the Park Avenue Armory in New York through October...

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Return to Form
REVIEWS | Di Faye Arthurs

Return to Form

It was a historic event. The New York City Ballet performed at the David H. Koch Theater on Tuesday, September 21st for the first time in 18 months. The audience was entirely vaccinated, entirely masked, and even more revved up than a Fall for Dance crowd. Dance legends were scattered all around, Edward Villella sat prominently in the first row. It was a cathartic evening. The outpouring of love for the dancers and the musicians was immense. Each ballet received three curtain calls and a standing ovation. Confetti fell from the rafters at the end. It was wondrous to behold. Was...

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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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