Paragon
From out of retirement came twelve dancers of the Australian Ballet. A dozen dancers to usher, in a sense, Adam Bull into his retirement at the close of the Melbourne season of “Identity,” in Alice Topp’s “Paragon.”
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Untethered
Much of the power behind Annie Rigney's “…she was becoming untethered” comes from what you can’t see. The new evening-length piece, which premiered at the 92NY, uses illusion and subtleties to meld experiences of sorrow, horror, courage, and humor, guiding the audience on a mysterious journey through the surreal.
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Vida Flamenca!
There’s hot and then there’s scorching. Such was the case when Madrid-born Daniel Ramos made an astonishing debut in his first Los Angeles performance at BroadStage last Saturday.
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Fractured Identity
A new Cathy Marston ballet for the Queensland Ballet had been a major draw card for the triple bill, however, there was a reverence to the evening that no one could have predicted
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Space for Transformation
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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Big Ideas
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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Change of Season
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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ABT’s Muy Caliente Gala
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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Worlds to Come
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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A Moveable Feast
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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Still Life in Modern Classics
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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Steps in Time
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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Firebird Rising
Long 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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Rare Birds
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.
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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.
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Jack of Hearts
As 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.
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School Report
One 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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