World-class review of ballet and dance.
Having just experienced the unboundedness of smoke that blew in from Canada’s wildfires to blanket the Midwest and the East Coast, I pondered “Extinction Rituals,” a dance-opera developed by the Brooklyn-based multidisciplinary duo Ximena Garnica, originally from Colombia, and Shige Moriya, from Japan.
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Jacqulyn Buglisi is not one to shy away from big ideas. For the thirtieth season of the company founded by four of the last generation to have worked directly with Martha Graham, Buglisi takes on human rights, world peace, forbidden love, and climate crisis in a program of seven works, including three premieres.
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At the end of the busy spring dance season, just a few days before the summer solstice, two incubators for emerging choreographers—“Planting Connections: Curated by Kyle Abraham” at Lincoln Center’s Hearst Plaza as part of Summer for the City and “Fresh Tracks: New Works” at New York Live Arts—boasted mixed bills that were as provocative as they were entertaining.
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Until American Ballet Theatre’s premiere of Christopher Wheeldon’s “Like Water for Chocolate,” my first thought upon leaving a ballet gala had never before been: “well that was hot.”
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The final program of Pacific Northwest Ballet’s 50th anniversary season had a “cheering for the home team” flavor, and there was a lot to rally high spirits if you knew this team well.
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Volta Collective, founded during the pandemic by Megan Paradowski and Mamie Green, fuses physicality, theatricality and multidisciplinary approaches to performance, with their recent “Salt” a testament not only to the group’s culinary prowess, but also to their musical, dance, thespian and literary chops.
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Illuminated by a single spotlight, a dancer seated atop a flight of dark, ominous stairs breathily whips and whirls her arms, reaching and pulling them inwards towards her stomach.
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William Forsythe’s new program for La Scala provides an opportunity to reflect on the direction taken by “contemporary ballet” over several decades.
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For four weeks in May, Paris Opera Ballet ran contrasting programs in its two homes: at the smaller Garnier, the POB premiere of Wayne McGregor’s “The Dante Project” and, at the Bastille, a program of three Maurice Béjart works from the 1970s.
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Andrea Miller’s Gallim Dance returned to the Joyce Theater, in New York, with a generous program titled “Bodies of Matter” that celebrated the company’s fifteen years.
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With “Nobody” from Motionhouse, it’s the second half that’s really worth watching; something gets cleared away, and the show focuses in on the performers themselves.
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In other words, “Deep River” was signature King: elongated, oblique moves, accentuated with filigreed arms, and deft and articulated footwork.
Continue ReadingWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
Continue ReadingThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
Continue ReadingAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
Continue ReadingAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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