World-class review of ballet and dance.
Last December, two works presented at Réplika Teatro in Madrid (Lucía Marote’s “La carne del mundo” and Clara Pampyn’s “La intérprete”) offered different but resonant meditations on embodiment, through memory and identity.
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In a world where Tchaikovsky meets Hans Christian Andersen, circus meets dance, ducks transform and hook-up with swans, and of course a different outcome emerges.
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Mao Zedong’s famous statement that women hold up half the sky may sound poetic and even liberating.
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The men are already on stage when the audience filters into the theater. Some stand stretching at the ballet barres, aligned in neat rows, and others move around, jumping, swinging their legs, lunging.
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The questions that the choreographic duo known as Baye & Asa set out to answer in their in-progress work, “At the Altar” may or may not be rhetorical: Who or what do we worship? How do we worship? Who are the righteous? Who are the blasphemous?
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On the rear wall of New York Live Arts’ black box theater, two grids of a dozen headlamps each resemble the glaring light towers of a sports arena.
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Two productions in one, “World Tales in Dance,” was a charming, crowd-pleasing afternoon of dance theatre.
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In Jo Warren’s “All Mouth,” five dancers perform what could be an action scene from a movie with the playback speed slowed down and sound turned off.
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The Pioneers Go East Collective's Out-Front! Festival highlights “radical queer art + dance,” making it a perfect resident festival for the historic Judson Memorial Church.
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Dominica Greene makes snow angels in a small pool of light. As the audience chatter at Danspace Project quiets down, she revs to life. Rocking and talking about a rickety fan found in her grandparents’ house in Guyana, her shakes and shudders illustrate the pleasure her body derives from the appliance’s particular rhythm.
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“Profanations,” created by choreographer Faustin Linyekula and music artist Franck Moka, is not a “just” dance piece: it’s a live concert, a cinematic séance.
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When Alban Lendorf was four, he became attentive to the piano. When his lessons advanced to the learning of a Chopin waltz, his piano teacher suggested he take dance classes to help open up the music.
Continue ReadingThe title of this dance interpretation of The Tempest highlights a notable departure from canon. In “We Caliban,” Shobana Jeyasingh imagines Shakespeare’s titular native in the collective sense—a tribe, a spirit and a place at once.
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.
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It 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.
Continue ReadingWhen we think of countries that have shaped the world of dance our mind will often drift to the United States, Russia, or Germany. But what of Luxembourg?
Continue ReadingIn times of rapid change, predicting the road ahead can seem to be a fool’s errand. But on a spring afternoon at Lincoln Center, I feel confident in this assertion: the future of dance is very bright.
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