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Glitter Revolution
REVIEWS | Victoria Looseleaf

Glitter Revolution

Talk about perfection! While the countdown is on, as Gustavo Dudamel, music director of the world-class Los Angeles Philharmonic, prepares to exit the stage for the New York Philharmonic (a big boohoo), his presence last weekend at Walt Disney Concert Hall further cemented his status as musical genius, tastemaker and catalyst for good.

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Channeling Electricity
REVIEWS | Sophie Bress

Channeling Electricity

Whether it resembles the slow, building roll of distant thunder or the immediacy of an overhead lightning storm, flamenco is electric. This energy, however, is an intimate one, and one that benefits greatly from proximity.

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Condors in Flight
REVIEWS | Kris Kosaka

Condors in Flight

Based in Tokyo, Condors is an all-male contemporary dance troupe founded by director and choreographer Ryohei Kondo in 1996. In their 30th year, the company retains all their original members with a few new additions.  

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All is Vanity
REVIEWS | Lorna Irvine

All is Vanity

Liv Lorent MBE is a gal I relate to, a choreographer with a penchant for the gothic, drawing upon the duality of traditions within narrative dance: the grand guignol and the sentimental.

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What We Hold
REVIEWS | Karen Hildebrand

What We Hold

Lights go up on three dancers who sit side by side on the floor in a far corner of the stage, legs outstretched, soles of their bare feet delightfully exposed. Siblings posing for a photo in the backyard? It’s a brief look, like a flashback.

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Together Apart
REVIEWS | Karen Hildebrand

Together Apart

Mesmerizing to watch? Or commentary on life versus machine? The program performed by Lyon Opera Ballet at New York’s City Center is both. Merce Cunningham’s “Biped” (1999) features a double cast—one of human dancers, and another of computer generated figures.

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New Kids on the Block
REVIEWS | Elsa Giovanna Simonetti

New Kids on the Block

In the second week of February, an ensemble of young and remarkably accomplished dancers presented a lovely and generously conceived programme just beyond the Paris city limits, at the Théâtre des Sablons in Neuilly-sur-Seine, as part of a tour spanning not only several French cities but also Spain, Germany, Switzerland and Malaysia. The evening unfolded as a carefully balanced succession of styles, allowing the dancers to reveal both technical assurance and interpretative maturity. Overall, the cohesion of the ensemble and the clarity of their stage presence matched those of an established professional company. Yet this was not, strictly speaking, the...

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