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A Life in Dance
BOOKSHELF | INTERVIEWS | Di Marina Harss

A Life in Dance

Gavin Larsen was a professional dancer for eighteen years, first with Pacific Northwest Ballet, then with Alberta Ballet and Suzanne Farrell Ballet, and finally and most significantly, for Oregon Ballet Theatre. She was never famous, but she had a good career, a career any dancer can be proud of. She has just written a memoir, Being a Ballerina, the Power and Perfection of a Dancing Life, published by the University Press of Florida. It is a quietly engrossing book, the reading of which feels like peeking through the keyhole into a life in dance. It is not a life to be...

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Vision of Change
INTERVIEWS | Di Josephine Minhinnett

Vision of Change

Toronto-based choreographer and dancemaker Esie Mensah says that she likes to “poke people with her art.” You’ll know what she means if you’ve seen any of her previous creations, such as A Revolution of Love, in which a crew of Black female dancers take over Fort York National Historic Site in celebratory Afro-fusion movement.

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Mixed Moments in Montreal
REVIEWS | Di Josephine Minhinnett

Mixed Moments in Montreal

It has been over a year since theatres closed due to Covid-19 and against my own logic, I am holding a ticket to see Canada’s first in-theatre dance program since the start of the pandemic: Les Grands Ballets Canadiens in “Echoes,” a 70-min mixed program of eight pieces, contemporary and classical, to include two new works by Canadian choreographers Hélène Blackburn and Andrew Skeels.

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Follow
DANCE FILM | REVIEWS | Di Lorna Irvine

Follow

Part of thinking about dance is thinking about bodies, the space they inhabit and the intimacy involved in creation: this is surely as true for critics as makers. So it is with Jasmin Vardimon Company's enigmatic Canvas, which interrogates such themes. In the middle of the pandemic, we are all becoming increasingly mindful of the space we take up, how to not get in the way of others, and how to be sensitive and recalibrate where we walk, queue, run, and travel (if possible). Just a hand placed in the wrong way is dangerous, just invading someone else's path is...

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Take Me Somewhere
DANCE FILM | REVIEWS | Di Lorna Irvine

Take Me Somewhere

The beloved festival of performance, provocation and boundary pushing, Take Me Somewhere, curated by artistic director LJ Findlay-Walsh, would of course have been a live experience at Glasgow's Tramway this May, but with the city still in lockdown, it is in a virtual format online for the first time. A real genre crusher, TMS proves dance and live art can mesh easily together, as evinced by so many of the artists that are programmed as part of this year's line-up. Two such artists are featured here, both with very different pieces captured and live streamed on film. It can often...

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A Rite of Spring for our Time
REVIEWS | Di Candice Thompson

A Rite of Spring for our Time

Andrea Schermoly’s Rite of Spring, a dance film created for Louisville Ballet and currently streaming until May 31st, opened to the sound of the wind blowing and an ominous sci-fi text reading: “Post apocalypse, a seeded band of humans struggle to survive on a frozen planet. Battling a viral plague, they await a sign of hope.”

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New York City Ballet Spring Gala
DANCE FILM | REVIEWS | Di Faye Arthurs

A Critical Failure

New York City Ballet’s Spring Gala featured excerpts by George Balanchine, Jerome Robbins, and a new piece by Justin Peck—all filmed for the occasion by Sofia Coppola. Phillippe Le Sourd served as director of photography, Chad Sipkin edited, and Peck and Coppola were jointly credited for the concept—which placed snippets of dances all over the David H. Koch Theater as it reawakened from its long Covid slumber. The gala premiered on May 6th, but I sat down to watch it after I dropped my son off at preschool a few days later. This is the only upside to reviewing in...

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Resilience
REVIEWS | Di Merli V. Guerra

Resilience

Pennsylvania Ballet’s recent virtual production, “Resilience,” presented a skillfully curated collection of ballets, beautifully reimagined for film. Contemporary works by Dwight Rhoden and Christopher Wheeldon balanced the classical nature of George Balanchine’s “Allegro Brillante” (1956) and Angel Corella’s rendition of Marius Petipa’s “Raymonda Suite,” both of which were brilliantly executed. Yet it was Rhoden’s “And So It Is…” and Wheeldon’s “Polyphonia” that made “Resilience” exactly that—resilient.

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A Creepy Coppélia
REVIEWS | Di Paul McInnes

A Creepy Coppélia

There's something of a disconnect when you watch a live performance of ballet on YouTube knowing that it is taking place 20 minutes from your house. Due to the latest State of Emergency issued by the Tokyo Metropolitan Government, the Japanese capital has become a cultural and social wasteland. With news that many western nations are cracking on and making significant inroads with vaccination programs, it's disappointing and frustrating to see the Japanese authorities bungle, with outstanding levels of incompetency, the pathway out of this pandemic shitshow with a paltry one percent of the country being vaccinated at the time...

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Counterpointe
REVIEWS | Di Claudia Lawson

Counterpointe

Twice a year the Australian Ballet relocate to the Sydney Opera House from their home in Melbourne to debut major works. Known as their Sydney seasons, this is the first time the company have ventured to sunny Sydney since late 2019 and Covid shook the world. Under the new directorship of David Hallberg, and with Australia essentially Covid-free, the season was steeped in anticipation, excitement, but also pressure for the company. With Hallberg’s first Sydney offering New York Dialects already receiving rave reviews, the company now present Counterpointe—a triple bill of three bite-size dance delights; Act III from “Raymonda,” Balanchine’s...

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Grahamfest95
REVIEWS | Di Faye Arthurs

Grahamfest95

The Martha Graham Dance Company turned 95 on April 18th. The company celebrated this milestone with a trio of performances broadcast live from its studios last weekend. Viewers could purchase programs separately or as a three-pack. Past/Present was the most balanced and satisfying as a standalone. Otherwise, the three-pack was a rewarding investment, despite some overlap in programming and formatting issues.

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