World-class review of ballet and dance.
In its Summer Series 2024, the Philadelphia contemporary ballet company offers three world premieres by choreographers Amy Hall Garner, Loughlan Prior and Stina Quagebeur. The extended run, July 10-21 at the Wilma Theater, is just about the only dance to be seen during summer’s dog days. And what a cool and breezy show it is. Just the boost we needed.
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On a scorcher of a day in July, New York’s Lincoln Center launched India Week, a cultural extravaganza celebrating the variety and vibrancy of Indian culture.
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There are ballet galas, and then there are ballet galas curated by Christopher Wheeldon (he was given an OBE in 2016).
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It’s a treat to see the Paul Taylor Dance Company perform within the close range of the Joyce Theater. (The company typically holds court at the much larger Lincoln Center.)
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What is freedom? And how do you keep working to reclaim freedom with fresh energy and joy?
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In late April at New York City Center, the Martha Graham Dance Company began a three-year celebration of its 100th anniversary. The four City Center performances were collectively entitled “American Legacies.”
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I imagine choreographers lazing about listening to disparate styles of music they may want to dance to. Or it’s possible a few dancer friends drop by or roomies come home and one says, “I’ve got a tape to play.”
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Though I desperately wanted to see the American Ballet Theater premiere Wayne McGregor’s “Woolf Works” this season, one could do worse than seeing “Onegin” as a last show before hitting the road for summer vacation.
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Dutch company Introdans’s mission statement is in its name: The group was founded by Ton Wiggers in 1971 to “introduce dance” to as large an audience as possible, at first responding to a lack of professional concert dance in Wiggers's own region, the eastern part of the Netherlands.
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Twyla Tharp's newest evening-length work, “How Long Blues,” is absurd. In under an hour, it depicts jazz clubs and soccer games, giant marionettes, a string of affairs, an avalanche, and a suicide, all without any particular reasoning.
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The School of American Ballet is celebrating its 90th anniversary this year. So is George Balanchine’s iconic “Serenade”—the first piece he made in America in 1934, choreographed on students from his brand-new academy.
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Sometimes there’s not much you’re able to say analytically about a dance work, and yet you know you’ve just witnessed a blood-guts-and-soul offering from an artist of the keenest kinaesthetic intelligence. Such was the case with gizeh muñiz vengel’s “auiga,” second on a double bill finale for the ARC Edge residency at San Francisco’s CounterPulse.
Continue ReadingLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
Continue ReadingIt is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Continue ReadingAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Continue ReadingOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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