A Danced Rituel
When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
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For thirteen years, from 2011 until this summer of 2023, Virginia Johnson was Dance Theatre of Harlem’s artistic director. She began her tenure before there was even a company to direct. In 2004 the ensemble that she joined in 1969, the year Arthur Mitchell formed the company, had been forced to go on hiatus because of serious financial problems. The question of whether it would get back on its feet was a real and agonizing one. And then in 2010, Mitchell, her mentor, asked her to lead the effort to bring it back. It was not a project she had sought out, or that she craved. But it was impossible not to accept the challenge. The company, which Mitchell had created in response to Martin Luther King’s assassination, was too important not to save.
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When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
Continue ReadingSan Francisco’s War Memorial Opera House is a grand, gracious theater, so it was a big deal to see the San Francisco Ballet School hold its end-of-year performances in that hall for the first time since at least 1985.
Continue ReadingAt its heart, “Sylvia” is a ballet about the resistance to love—a theme that continues to resonate deeply, as the human spirit often recoils from love, driven by fear, pride, a need for control, or the weight of duties and moral constraints.
Continue ReadingSince the 1970s, the Paris Opera Ballet has cultivated a distinctive tradition of nurturing its own dancers as emerging choreographers.
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