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Breaking the Waves
REVIEWS | Eoin Fenton

Breaking the Waves

As October starts to draw to an end, so too does Dance Umbrella, London’s annual international dance festival. Having worked their way through the Barbican and Sadler’s Wells East, one of the final programmes is on at the Place—which has had an especially impressive Autumn season.

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Tip of the Hat
REVIEWS | Faye Arthurs

Tip of the Hat

This fall, the American Ballet Theatr is celebrating its 85th anniversary by highlighting the choreographers key to the company’s history. Agnes DeMille, Antony Tudor, Frederick Ashton, Michel Fokine, Marius Petipa, George Balanchine and Alexei Ratmansky are all featured, but only Twyla Tharp got her own night.

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On Love and Mortality
REVIEWS | Elsa Giovanna Simonetti

On Love and Mortality

What’s special about Rudi van Dantzig’s “Romeo and Juliet” is how deeply it is steeped in the textures of popular devotion and everyday life, reminiscent of Flemish painting in its chiaroscuro and crowded humanity.

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Becoming David
REVIEWS | Victoria Looseleaf

Becoming David

Who is David Roussève? Is he a 64-year-old African American dance/theater artist taking to the stage in a solo outing for the first time in 20 years? Check!

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The Final Stage
REVIEWS | Gracia Haby

The Final Stage

Folded forward at the waist, knees pressed together, but with her feet apart, Rachel Coulson assumes bird-like form. With her legs held as if bound at the knees, she travels backwards. Arms extended away from her torso giving the impression of wings, she rotates her hands as if her feathery tips are taking readings of the environment around her. In the conjuring of shapes, of course a waterbird appears before my eyes. This is part two of DanceX, presented by the Australian Ballet, where Stephanie Lake Company’s “Auto Cannibal,” replete with Coulson’s bird-like solo, shares the stage with West Australian...

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Limón's New Look
REVIEWS | Karen Hildebrand

Limón's New Look

Limón Dance Company launches its 80th anniversary season with three works that represent the company’s past, present, and future. They not only celebrate José Limón, but demonstrate how his themes guide the company in fresh new ways.

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Dream Ballets
REVIEWS | Rebecca Deczynski

Dream Ballets

It’s hard to imagine a ballet quite as exquisite as Michel Fokine’s 1909 “Les Sylphides.” The white tutu piece, set to a score by Fredéric Chopin, introduced the world to the concept of a plotless ballet—and, in that, opened the door for every choreographer who was to come.

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Turn Up, Turn Out
REVIEWS | Rebecca Deczynski

Turn Up, Turn Out

Tiler Peck has easily proven she can pull off multiple roles: dancer, in addition to artistic director, choreographer, and curator. The success of “Turn It Out With Tiler Peck and Friends”—which debuted at City Center in 2022 as its inaugural Artists at the Center program and has since been performed across the U.S. and in London—is evidence of that.

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The Big World in Small Spaces
REVIEWS | Eoin Fenton

The Big World in Small Spaces

London has very little to do to convince the world of its artiness. It’s often given that eye-roll inducing title of a ‘world city;’ whatever your heart wishes to see will probably, at some point, make its way through London.

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