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Beyond the End
REVIEWS | Di Rachel Howard

Beyond the End

In the chaotic, dirty heart of San Francisco’s Tenderloin neighborhood, in a fuchsia building that once housed a porn palace, stands a venue named CounterPulse. I’m always curious what’s going on at CounterPulse because the place seems to welcome subversion with an edge of sexiness, because it prioritizes racial equity in a way that goes way beyond lip service, and because you never know when you’re going to discover something mind-blowing there. That all proved true again in early June, when I was lured to the culminating performances of CounterPulse’s ARC Edge residency by Audrey Johnson, a beguiling dancer in...

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Paul Michael Henry talks Shrimp Dance
INTERVIEWS | Di Lorna Irvine

Paul Michael Henry talks Shrimp Dance

To watch Paul Michael Henry dance is to experience something that exists in a liminal space. He creates primordial work which is nonetheless rooted in the issues of our time. So it is with “Shrimp Dance,” a unique, mesmerising piece which interrogates the depletion of the shrimp population and the wider implications for our ecosystem, using Butoh performance, live music and multimedia.

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Forget Me Not
REVIEWS | Di Veronica Posth

Forget Me Not

Pina Bausch’s penultimate work, “Sweet Mambo” premiered in 2008, following its counterpart “Bamboo Blues.” The two pieces were created in an attempt to explore how a single starting point—identical set design—could lead to two distinct pieces, developed by two different casts. “Sweet Mambo” was recently reconstructed by Alan Lucien Øyen, and performed in Wuppertal by the original cast, with the exception of Naomi Brito, company member since 2020/21, who danced the role originated by Regina Advento.

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Body Language
REVIEWS | Di Karen Hildebrand

Body Language

From the moment Doug Varone’s “Somewhere” opens on the figure of Hollis Bartlett leaning into a lateral arabesque, and we hear the sound of a certain unmistakable finger snapping, it’s clear that the GPS for this particular somewhere is the misty pre-dawn of an empty NYC tenement street in Leonard Bernstein’s “West Side Story.” During a week that celebrated 35 years of performance, Doug Varone and Dancers presented a program of four works that map the evolution of a master story teller.

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Core Values
INTERVIEWS | Di Veronica Posth

Core Values

Born in Buenos Aires, Gaston Core is a choreographer, theatre-maker, curator and director. Trained as a performer in his native Argentina, Core moved to Barcelona in 2001 where he continued his work as a director and theatre-maker. In 2012, Core became the director of the experimental theatre space, the Sala Hiroshima Project. There he focused on the production and exhibition of the most innovative trends in the international contemporary performing arts scene. His choreographic work, “The Very Last Northern White Rhino,” the first in a trilogy, recently toured in Europe. Veronica Posth spoke with Gaston Core about collaboration, creating for stage, and...

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Delicate Aberrations
REVIEWS | Di Cecilia Whalen

Delicate Aberrations

When Trisha Brown's “Foray Forêt” begins, dancers look like shadows against a purple backdrop until the stage fades in to light. We see intricate, gentle, movements: slight inclines of the head, swinging arms, brief transfers of weight between the group. They are done with great precision, sometimes independently and sometimes remarkably synchronized. “Foray Forêt” was choreographed in 1990, and Brown said she was trying to tap into her subconscious to create simplified, intimate gestures. It was one collaboration of many with Brown's good friend and creative partner Robert Rauschenberg (he did the visual design and the costumes) and was recently...

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Fairies and Fireflies
REVIEWS | Di Marina Harss

Fairies and Fireflies

Is there a better way to end the spring season than with George Balanchine’s “Midsummer Night’s Dream”? If so, I can’t think of it. Mendelssohn’s music, with its breathless forward drive, pulls one immediately into the story. (In this, it is reminiscent of “The Nutcracker” score.) George Balanchine’s choreography is equally transporting. From the first moment, as a flurry of tiny butterflies and fairies—beautifully-trained kids from the School of American Ballet—skitters across the stage, we are drawn into Shakespeare’s world. The spell lasts until the end of the first act, when all the characters, both human and magical, make peace...

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Moving Meditation
REVIEWS | Di Karen Hildebrand

Moving Meditation

At the hands of choreographer Stephen Petronio, a return to the stage after two years away becomes an occasion to both honor the past and contemplate the current moment. Opening night of the Stephen Petronio Company’s weeklong engagement at the Joyce Theater includes a new work, a restaging of vintage Trisha Brown, and an emotionally redeeming piece from company repertory, “Bloom,” accompanied live by the Young People’s Chorus of New York City.

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Ode to “Serenade”
BOOKSHELF | INTERVIEWS | Di Sophie Bress

Ode to “Serenade”

To many dancers, Balanchine is a figure so imbued with history, he’s almost not real. He lives on through his 465 works, which we study in dance history classes, watch onstage, and—if we’re lucky—learn ourselves. He’s almost been stripped of humanity, raised up to such a high status that it’s easy to forget that he—in his own words—“pulled the toilet chain for the same reason you do.” Toni Bentley, and her latest book, Serenade, are here to remind us.

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The Biggest Dance Party of the Year
FEATURES | Di Candice Thompson

The Biggest Dance Party of the Year

Abdel R. Salaam met Dr. Charles R. Davis in 1969. Known as Baba Chuck (“Baba” being a term of endearment for patriarchal figures in communities worldwide), he founded the DanceAfrica Festival at BAM in 1977. Baba Salaam, the current artistic director for DanceAfrica, danced in those inaugural performances with the Chuck Davis Dance Company.

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Mats Ek is Back at the Paris Opera Ballet
REVIEWS | Di Candice Thompson

Mats Ek is Back at the Paris Opera Ballet

As bells sounded the theme opening Georges Bizet’s Carmen Suite, Simon Le Borgne sat slumped on an exercise ball, facing upstage, his head drooped so low he appeared in the spotlight as an almost headless Don José. Others entered, including Ida Viikinkoski as M., Don José’s betrothed. Trying to conjure him awake with sharp motions that ticked like a clock, she left him to the battalion of soldiers, lining up to serve as his firing squad. The effect was one of a bad dream, a premonition that was both the beginning and ending of Mats Ek’s “Carmen,” created for Cullberg...

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Rambert Spring
REVIEWS | Di Emily May

Rambert Spring

Dutch sibling duo and NDT alumni Imre and Marne van Opstal’s “Eye Candy” was first presented to audiences as a digital dance work last summer. Almost a year later, it made its live UK theatre debut last week as the opening performance of Rambert’s latest triple bill of works. Exploring the theme of body politics, “Eye Candy” features a cast of eight dancers dressed in synthetic moulded torsos giving the impression of nudity. Adding stiff, perky breasts and tight six packs to the performer’s already toned and athletic bodies, these costumes cleverly introduce conversations around unattainable beauty standards even before...

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Featured Reads

REVIEWS | Faye Arthurs
Lord of the Dance

The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.

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