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All Ratmansky
REVIEWS | Di Faye Arthurs

All Ratmansky

The American Ballet Theatre aired a pre-filmed, all-Ratmansky program this week on City Center’s digital platform. For $25, it is accessible on demand through April 18th. I highly recommend it. There were three works offered in excerpt and one world premiere, “Bernstein in a Bubble,” created recently in a working quarantine at the Silver Bay YMCA in upstate NY. During a pleasant intermission interview between Linda Murray (Curator of the Jerome Robbins Dance Division at the NY Public Library) and Alexei Ratmansky, he explained that the new ballet used music which had been composed by Leonard Bernstein to fête the...

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Back to the Barre
DANCE FILM | REVIEWS | Di Marina Harss

Back to the Barre

William Forsythe is a dancers’ choreographer. Dancers love working with him, he challenges their minds and their bodies, his knowledge and understanding of the vocabulary of ballet is profound. In the studio, the atmosphere is one of co-conspirators, playmates. All this comes through in his most recent creation, a collaboration with New York City Ballet’s Tiler Peck called “The Barre Project (Blake Works II)” released on March 25, with a repeat performance on March 27. (The platform is CLI Studios, an online clearinghouse for dance classes.)

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Rise from the Ashes
INTERVIEWS | Di Lorna Irvine

Rise from the Ashes

Penny Chivas is a superb Glasgow-based dancer and activist whose work is graceful, insightful and challenging. Her current project, “Burnt Out,” interrogates the effects of Australian bush fires, with particular emphasis on trauma, in terms of both body and the environment. Plans for the piece were put on hiatus because of travel restrictions in the wake of the pandemic. Lorna Irvine caught up with her—socially distanced, outdoors—to talk with her about her career so far, and plans for when current restrictions are lifted in the UK.

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Toni Basil, Dancing through the Decades
INTERVIEWS | Di Victoria Looseleaf

Toni Basil, Dancing through the Decades

Quentin Tarantino called her the “Goddess of Go-Go.” Indeed, when the acclaimed director hired dancer, choreographer, singer, and actress Toni Basil to make dances for his 2019 film, Once Upon a Time . . . in Hollywood, choosing Basil was a no-brainer. After all, this polymath, who was born in 1943 and is still going strong at 77, not only has cred in the swinging ‘60s, but has also been relevant for six—count ‘em, yes six—decades.

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Extremes of Choreography: Wim Vandekeybus
DANCE FILM | REVIEWS | Di Lorna Irvine

Extremes of Choreography: Wim Vandekeybus

Belgian choreographer and film maker Wim Vandekeybus’ work is characterised by absolute extremes: jaw-dropping theatricality; the use and abuse of unusual props, athleticism, frenzy, danger and discomfort. He doesn't deal in soft options; rather, he credits his audience with enough intelligence to enjoy, pick apart and understand his challenging, often dreamlike pieces. The scenography and sound are as integral to the work as the steps.

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Next stop, Tanz Station
FEATURES | Di Merilyn Jackson

Next stop, Tanz Station

Pascal Merighi’s raffish confidence dazzled when I first saw him dance in Pina Bausch’s “For the Children of Yesterday, Today and Tomorrow” at the Brooklyn Academy of Music. He all but hurled dancer Ditta Miranda Jasjfi around his waist as if she were a lifeless rag doll.

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Beauty in Japan
REVIEWS | Di Paul McInnes

Beauty in Japan

The National Ballet of Japan's performance of “The Sleeping Beauty” at Hatsudai's mammoth New National Theatre Tokyo was actually a late replacement for artistic director Miyako Yoshida's “selection” which was scrapped near the end of last year. 

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Reframing
DANCE FILM | REVIEWS | Di Lorna Irvine

Reframing

As Glasgow's famous Tramway venue remains closed until further notice, Unlimited have commissioned a short film screening for those missing this superb live dance festival. This particular film is a superb example of the artists who would be participating on the stage throughout the spring, and feels entirely apposite, given its overarching theme.

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Fleeting Beauty
REVIEWS | Di Claudia Lawson

Fleeting Beauty

And here we are—in Sydney’s Roslyn Packer Theatre. Everyone is wearing masks, yet the theatre is buzzing. The anticipation is palpable—the Sydney Dance Company is about to take the main stage for the first time since late 2019. The work is Rafael Bonachela's “Impermanence.”

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Love & Strife
REVIEWS | Di Rachel Howard

Love & Strife

The task at hand is a review of “Romeo and Juliet,” but more on that in a minute. What needs to be said first is this: In our moment of political and pandemic chaos, Peter Boal is doing an extraordinary job of connecting his company to its public with a spirit of empathy, vulnerability, and humility.

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Winter Festival
REVIEWS | Di Faye Arthurs

Winter Festival

The American Ballet Theatre Studio Company aired performances of new works and excerpted classics over two nights this week, for free on YouTube. Actually, the shows were billed as two halves of one Winter Festival performance, separated by a 23-hour intermission. I appreciated the digestibility of this scenario, for watching ballet online is not the same as watching it in person—it is much harder to focus on a computer screen than a massive stage.

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Christopher Wheeldon: Making Dances in a Pandemic
INTERVIEWS | Di Marina Harss

Christopher Wheeldon: Making Dances in a Pandemic

The last decade of Christopher Wheeldon’s career has gone by in a blur. The global nature of the ballet world means that he is constantly on the move, finishing one project even as another is taking shape somewhere else, demanding his attention. When the pandemic hit, he had two enormous projects on the way, a new evening-length ballet for the Royal Ballet in London, and a musical headed to Broadway. Both are now on hold until theaters open again. But he hasn’t been idle. In 2020, he took on several projects, most of them far less formal or elaborate than...

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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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