People, Places, and Things
Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
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For Ballet Hispánico’s upcoming season at New York City Center from May 29-June 1, the company will present Gustavo Ramírez Sansano's “Carmen.maquia,” a contemporary take on the timeless story at the heart of George Bizet’s unforgettable opera “Carmen.” The tragic tale of Carmen, a fiery gypsy woman, who captivates both Don José, a soldier, and the bullfighter Escamillo with her independent spirit and allure, revolves around universal themes—love, passion, and jealousy—culminating in violence. Wanting to know about the special blend of ingredients that went into this boldly reimagined Carmen, I sat down with Artistic Director and CEO Eduardo Vilaro for a discussion about the work. The conversation yielded insight into what makes this production so uniquely vibrant and why it is a relevant work for today and for Ballet Hispánico’s core mission to reimagine how Latine culture is celebrated on the global stage.
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Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
Continue ReadingThe annual Dancing the Gods Festival of Indian Dance celebrated its fourteenth and final year with a generous finale May 16-18. This final event extended for three evenings instead of the usual two.
Continue ReadingSomething old, something new, something borrowed, and something “Blue.” The premise of Australasian Dance Collective’s fortieth anniversary celebration stems from the traditional divisions of time.
Continue ReadingShadows, dark matter and the enigmas of consciousness—the ideas behind Crystal Pite’s “Frontier” are timely and timeless at once.
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