Stars of the International Ballet Stage
The IBStage Star Galas have a mission to unite the best and brightest for gala ballet evenings. As seen at New York City Center, New York. Photographs by Steven Pisano
Continue ReadingWorld-class review of ballet and dance.
It’s been 30 years since Alvin Ailey’s death, but his company looks eager as ever to spread the gospel he wrote: a hip, harmonious union of modern dance and black vernacular styles. Ailey’s eminent legacy infuses every piece the troupe performs, even recent commissions like those on show in this UK tour. Where he led, his dancers continue to follow, finding vibrant new ways to honour the lives and experiences of black America.
Performance
Place
Words
Alvin Ailey American Dance Theater in Rennie Harris' “Lazarus.” Photograph by Paul Kolnik
“Uncommonly intelligent, substantial coverage.”
Your weekly source for world-class dance reviews, interviews, articles, and more.
Already a paid subscriber? Login
The IBStage Star Galas have a mission to unite the best and brightest for gala ballet evenings. As seen at New York City Center, New York. Photographs by Steven Pisano
Continue ReadingWhile Kendrick Lamar performed “Humble,” during his Super Bowl halftime set and was surrounded by dancers clad in red, white and blue—and in the process assumed the formation of the American flag (choreographed by Charm La’Donna)—so, too, did Faye Driscoll use performers who created slews of shapes/sculptures in her astonishing work, “Weathering,” seen at REDCAT on February 8, the last of three sold-out performances.
Continue ReadingLet’s start with the obvious, or maybe to some this notion will be highly disputable, even offensive. OK, then, let’s start with what kept repeating in my head as I walked out of UC Berkeley’s Zellerbach Hall, synapses abuzz with the wonders of Twyla Tharp Dance’s 60th anniversary “Diamond Jubilee” program: My God, Twyla Tharp really is the most brilliantly inventive choreographer now alive on the planet.
Continue ReadingIn Maldonne, French filmmakers Leila KA and Josselin Carré pose eleven women side by side on a barren stage. They’re dressed in floral patterns that hearken to the 1950s. The camera zooms in to frame their faces—each woman is in a state of distress.
Continue Reading
comments