World-class review of ballet and dance.
Paying homage to American composers, a new program of five ballets, titled “Americana x Five” and presented as part of New York City Ballet’s fall season at Lincoln Center, covered an impressively broad range of choreographic and musical styles and moods—from classical to modern to Broadway.
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On this evening at the Citadel, the audience were turned longways; the brick wall to our right. We looked from tiered seating to a small white square floor with a good number of coloured lights on the ceiling and at the edges. The set up is important because this performance was about memories, memories from childhood, and how you frame a memory can be everything.
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“The soul desires to dwell with the body because without the members of the body it can neither act nor feel.” –Leonardo da Vinci
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Finding my seat at Ohad Naharin and Batsheva Dance Company’s “Decadance,” the performance has already begun. In his own private world, on the stage of the State Theatre, Shamel Pitts, in a loose black suit and untucked white shirt, is dancing and I am so glad I have arrived with enough time to catch his playful, loose-kneed, liquid groove. To the side-to-side sway of early samba and late ’50s bossa nova, his moves call to mind how we might all dance if no one were watching. It is the contented, inward, and liberated dance of getting ready for a party,...
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A kind of transcendent, spiritual healing took place over the weekend when Paris-based Sankai Juku, an eight-member troupe founded by Ushio Amagatsu in 1975—the master is still dancing at 66—wove a spell over those audience members who allowed themselves to be enveloped by a work about time, memory, the body and ritual. Visceral as well as highly cerebral, the 80-minute intermissionless “Umusuna” (it premiered in 2012 in Lyon, France), is a testament to humankind in all of its iterations.
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Throughout his life George Balanchine had a special affinity for the waltz. In his early works such as “Valse Fantaisie” and “Serenade,” and later in his mature pieces, especially in “La Valse” and “Vienna Waltzes,” and finally in “Davidsbündlertänze,” he imbued the waltz with dramatic meaning, bringing this popular social dance form to new emotional highs.
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An ubiquitous presence on the cultural scene for many decades, Bill T. Jones, at 63, has conquered Broadway, winning Tonys for “Fela!” and “Spring Awakenings,” as well as the world’s most elite concert halls. Snagging boatloads of awards along the way, including last year’s Doris Duke Performing Artist Award, several Bessies, and a 2010 Kennedy Center Honor, he has also been the artistic director of New York Live Arts since 2011.
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Is there anything prima ballerina Diana Vishneva cannot do? Having recently turned 39, this reigning Goddess of the dance world (one who also commissions works made expressly for her), seems to be at the height of her powers—physically, emotionally and, possibly even spiritually—as she infuses every step, every swoop of her arms, indeed, her entire being, with breathtaking beauty, grace and a generous humanity.
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She’s twitchy, she’s testy, she’s Twyla! In this, her fiftieth year of dancemaking, Twyla Tharp barely needs a last name. And instead of going gently into that good night at age 74 and presenting a greatest hits concert for 12 dancers (plus one understudy), the choreographer has opted to make two new lengthy works, “Preludes and Fugues,” and “Yowzie,” each introduced by a John Zorn-composed fanfare as part of a 10-week, 15-city anniversary tour.
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In mid-July the grove on Amsterdam Avenue in front of the David H. Koch Theater was littered with cigarette butts. This wasn't anything out of the ordinary; the trees are adjacent to the stage entrance, and it's always where the dancers and musicians go for smoking breaks. The cigarette butts on this particular occasion, however, were a flaming red, making it look like a burst of confetti had just settled to the ground. No party had been thrown. It was just that the cigarettes, instead of the usual Parliaments or Marlboros, were Chinese, and the smokers were members of the...
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In his own cabinet of natural curiosities, the Amsterdam-based pharmacist, Albertus Seba (1665–1736), placed exotic plants and corals, birds and butterflies, and slithering snakes alongside shells in fantastical fanned formations to delight the eye. In the Australian Ballet’s Artistic Director, David McAllister’s first full-length production and choreographic debut with a staging of Petipa and Tchaikovsky’s “The Sleeping Beauty,” it is not hard to surmise that as a long-term former dancer with the company and now at the helm as director for his fifteenth year, McAllister himself has constructed something of his own golden ‘wunderkammer’ with this work. A production replete...
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In 2010, author Jonathan Safran Foer took Bruno Schulz’s The Street of Crocodiles and sculpted it into a new story: Tree of Codes. By die-cutting each page, Foer removed most of Schulz's words, but he left behind “a thousand kaleidoscopic possibilities” on a single page. He tracked down “a small quick heartbeat, delicate and impatient.”[note]Jonathan Safran Foer, Tree of Codes, (London: Visual Editions, 2010)64[/note] And he carved out—literally—“an awkward undecided direction, a shaky and uncertain line of indefinite basic sadness.”
Continue ReadingTwo performers crawl in on hands and knees wearing neon green, hooded coveralls—the lightweight papery kind made for working in a sterile environment—and clusters of balloons pinned to their backs.
Continue ReadingWill Rawls makes boundaries visible by defying them. Known for the disciplinary and topical range of his projects, the choreographer, director, and performer approaches issues of representation in “[siccer],” a multi-part, multi-site work co-presented by L’Alliance New York’s Crossing the Line Festival. A live performance at Performance Space New York...
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It is always interesting when multiple theme steps emerge over the course of a mixed repertory evening, but it is uncanny on one featuring five different ballets, each with a different choreographer and composer, covering a twenty-year span (2005-2025).
Continue ReadingZvidance premiered its new work “Dandelion” mid-November at New York Live Arts. Founded by Zvi Gotheiner in 1989, Zvidance has been a steady presence in the New York contemporary dance scene, a reliable source of compositional integrity, and a magnet for wonderful dancers.
Continue ReadingCleveland native Dianne McIntrye received a hometown hero's welcome during her curtain speech prior to her eponymous dance group thrilling the audience in her latest work, “In the Same Tongue.”
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