Stars of the International Ballet Stage
The IBStage Star Galas have a mission to unite the best and brightest for gala ballet evenings. As seen at New York City Center, New York. Photographs by Steven Pisano
Continue ReadingWorld-class review of ballet and dance.
The moment arrived two-thirds into the program, near the peak of Donald Byrd’s “Love and Loss.” For more than an hour, the beautiful bodies on screen had been doing eloquent things, to curiously numbing effect. Then Dylan Wald stepped on stage, his body precise and deliberate, his face both dignified and vulnerable. Cecilia Iliesiu stood behind him in the shadows, her toes nibbling the floor in a bourrée, her face shining with angelic concern. Even captured on camera, their dancing so united movement and music that the only response was to cry.
Performance
Place
Words
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
Already a paid subscriber? Login
The IBStage Star Galas have a mission to unite the best and brightest for gala ballet evenings. As seen at New York City Center, New York. Photographs by Steven Pisano
Continue ReadingWhile Kendrick Lamar performed “Humble,” during his Super Bowl halftime set and was surrounded by dancers clad in red, white and blue—and in the process assumed the formation of the American flag (choreographed by Charm La’Donna)—so, too, did Faye Driscoll use performers who created slews of shapes/sculptures in her astonishing work, “Weathering,” seen at REDCAT on February 8, the last of three sold-out performances.
Continue ReadingLet’s start with the obvious, or maybe to some this notion will be highly disputable, even offensive. OK, then, let’s start with what kept repeating in my head as I walked out of UC Berkeley’s Zellerbach Hall, synapses abuzz with the wonders of Twyla Tharp Dance’s 60th anniversary “Diamond Jubilee” program: My God, Twyla Tharp really is the most brilliantly inventive choreographer now alive on the planet.
Continue ReadingIn Maldonne, French filmmakers Leila KA and Josselin Carré pose eleven women side by side on a barren stage. They’re dressed in floral patterns that hearken to the 1950s. The camera zooms in to frame their faces—each woman is in a state of distress.
Continue Reading
comments