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This October, the Canada National Ballet returned to London for the first time since 2013 with a series of performances at Sadler’s Wells Theatre.
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In one corner of the black-box stage, three musicians adjust their instruments: drums, double bass, clarinet. As each performer enters barefoot, they set down a pair of sneakers with toes lined against the back wall. A dark-haired woman in white stands centerstage in front of a projected film image of the open sea. I can hear the water lapping as if I’m aboard a boat. The film plays over the woman’s face and dress, making her seem an apparition. Another woman—who could be her double—enters, also dressed in white. As the show begins, the first woman picks up a violin and begins to play as she walks off to join the musicians.
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This October, the Canada National Ballet returned to London for the first time since 2013 with a series of performances at Sadler’s Wells Theatre.
Continue ReadingSeated on the floor before an overhead projector, Arabella Frahn-Starkie could be in her studio, working, sifting, collaging, thinking.
Continue ReadingKaatsbaan Cultural Park in New York’s Hudson River Valley presented a program of new works over the final weekend in September as part of its 2024 Annual Festival.
Continue ReadingThis year’s Biennale Danza Venezia Silver Lion award went to Zurich-based choreographer Trajal Harrell. A house director at the Schauspielhaus Zurich, and the founding director of the Schauspielhaus Zurich Dance Ensemble, he brought the Ensemble to FringeArts Festival for the Philadelphia premiere of his 2022 “The Köln Concert” last month.
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