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Marie-Agnès Gillot
REVIEWS | Di Jade Larine

Too Big to Fail

Marie-Agnès Gillot is one of a kind, one in a million. She has arms and legs for days, which she sinuously moves like tentacles, spectacular extensions which she uses as air-piercing arrows and a stage charisma that could hypnotize you from the highest gallery seat. A Guillem-like dancer of intense virtuosity, she had world-class potential. But she’s never completely made the most of it and her final “Boléro” translates just that. Her 20-minute solo indeed read like a resigned swan song: yet, a beautiful one.

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The Wild Divine
INTERVIEWS | Di Merli V. Guerra

The Wild Divine

Since 1987, Deborah Abel Dance Company has presented modern dance productions of the highest caliber in Boston, Massachusetts, and abroad. Based in Lexington, MA, the company aims “to remind us of a level of connection with ourselves and others that gets buried in everyday life, and which the arts are uniquely qualified to uncover.”

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Divertimento No. 15
REVIEWS | Di Oksana Khadarina

Divertimento

The David H. Koch Theater looked particularly festive during New York City Ballet’s winter season. Nearly 200,000 balloons of different sizes and colors, assembled in elaborate garlands and constellations—a pop art installation by the Turkish-American visual artist Jihan Zencirli (a.k.a. Geronimo)—transformed the theater’s atrium into something akin of a gigantic playground.

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No Pain
FEATURES | Di Chris Rodgers-Wilson

No Pain

Somewhere in the last few bars of the Bluebird coda from "The Sleeping Beauty," I felt my foot give way. I can’t remember exactly what step it was, but I knew instantly something was wrong. I almost managed to get to the end of the rehearsal, but the foot had completely locked up. Overwhelmed by a mixture of shock, pain and embarrassment, I needed to be out of view. As I limped to the seclusion of the corridor outside the busy rehearsal studio, all I could hear was white noise. Our company ballet master and my dance partner joined me...

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Crystal Pite
INTERVIEWS | Di Victoria Looseleaf

Pivotal Moments: Crystal Pite

“I’m a choreographer because I’m interested in connecting with people, in connecting to audiences, and in connecting with people I’ve worked with—performers—as a way of finding common ground. There’s something about the presence of story,” said internationally acclaimed choreographer, Crystal Pite.

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Inspired Steps
REVIEWS | Di Rachel Howard

Inspired Steps

I don’t think I can avoid beginning this review on a personal note. I found Episcopalian Grace Cathedral at age 25, because I lived two blocks down Nob Hill and couldn’t figure out what else to do on Easter morning, never guessing I would convert and still worship at Grace 18 years later. KT Nelson, cofounder and one of two main choreographers at ODC/Dance, San Francisco’s most prominent contemporary company, found Grace via a more circuitous route. Hearing Joby Talbot’s choral score “Path of Miracles,” which dramatizes a pilgrimage along Spain’s famous Camino de Santiago, led Nelson to a five-week...

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Pina Bausch
REVIEWS | Di Sara Veale

Universal Yearning

When Pina Bausch embarked on her World Cities series in the ’80s, striking up temporary residencies in locales as far-flung as São Paulo and Santiago, she sought to capture the wrenching needs, desires and fears that unite people the world over. The dance theatre works created during these sprees are searching and seductive, mingling lust and passion with darker human instincts. Some relay literal imagery and music picked up during the company’s travels, while others revel in abstraction, foregrounding sentiments inspired by their stay but only occasionally reflecting a city’s particular history and ambiance.

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A Numbers Game
REVIEWS | Di Penelope Ford

A Numbers Game

“Project 7,” choreographer and director Kylie Thompson revealed, was the working title of her new piece, named for the seven dancers of her eponymous pick-up company. On the meaning of the ultimate title, “33/33,” she was less forthcoming, hinting only at numerology as a driving theme. In the post-performance chat, lighting and projection designer, Simon Clemo reminded us: “Everything you need to know about the work is contained in the work,” his words and designs taking cues from the Russian avant-garde, and the Suprematism movement of 1930s.

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Disruptions
REVIEWS | Di Lorna Irvine

Disruptions

On the face of it, these two short pieces performed by the mighty Scottish Dance Theatre have little in common. They create two very distinct worlds. Yet they both deal in disruption of form, and riff on well-known themes which touch our lives. Artistic director Fleur Darkin invites the audience to spot the link between two such disparate works, and as both pieces expand, so the similarity is revealed.

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Wild Variety
REVIEWS | Di Sara Veale

Wild Variety

For a colourful cross-section of the UK dance scene, you can hardly do better than “Sampled.” The annual event is a glimpse into the range of productions that grace the Sadler’s Wells stage over the year, pitching ballet alongside contemporary, hip-hop, flamenco and more. With its diverse line-up and proms-style standing tickets, the show caters to the devoted and the uninitiated alike, drawing a dynamic and often chirpier-than-usual crowd.

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Musing about Balanchine
REVIEWS | Di Oksana Khadarina

Musing about Balanchine

George Balanchine created “Apollo” 90 years ago. Set to Igor Stravinsky’s score, this ballet—seminal and historic on many levels—signified a major point in development of Balanchine’s aesthetics and principles as a choreographer. “Apollo” is regarded as one of signatures of New York City Ballet.

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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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