All – Tagged "REVIEWS" – Page 101

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REVIEWS | By Gracia Haby

Swing Time

I grew up watching Lucky and Penny spin about the dance floor. I knew their every line, and, more importantly, their every move, and their every move’s lines. Studied on a Beta video and later a VHS, their moving forms were so familiar to me. And perhaps through my repeated viewings I’d hoped for some sort of talent transference through the screen to me lying in Cobra on the floor, my chin resting in my hands. Fred Astaire and Ginger Rogers, as John ‘Lucky’ Garnett and Penelope ‘Penny’ Carrol, in George Stevens’ Swing Time (1936), were my idols in Primary...

REVIEWS | By Jade Larine

A Freudian take on Swan Lake

Nureyev’s take on “Swan Lake” (1984) is often said to be tricky, narcissist, untidy. It is all that, to some extent, but it’s also one of the most mature, intense versions of the crowd-pleaser that has gone free from emotional stirring around the world. In Nureyev’s version, the psychological depth, ingrained in the Prince’s psyche, is reminiscent of the choreographer’s dark side. And when you watch men waltzing holding hands like women traditionally do in Romantic ballets, it feels close to what could have been in Tchaikovsky’s imagination. Part of his sorrow came from his attraction to men, which he...

REVIEWS | By Sara Veale

A Hollow Spectacle

F. Scott Fitzgerald’s Tender Is the Night charts the turbulent romance between a woman beleaguered by psychosis (Nicole) and a man fixated on saving her (Dick)—a relationship modelled on the author’s marriage to Zelda Sayre Fitzgerald. Drama erupts: there’s incest, alcoholism, corruptive wealth and more, much of it arising from Dick’s dual role as Nicole’s husband and her psychoanalyst. Factor in the heady setting—a glam expat resort in 1920s France —and it’s rich material for a stage production.

REVIEWS | By Erica Getto

A Note on Movement

“A dancer’s intelligence,” writes critic Edwin Denby in “A Note on Dance Intelligence” (1944), “isn’t shown by what intellectual allusions she can make in costume or pantomime, or, if she is a choreographer, in her subject matter. It is shown by how interesting to look at she can make her body the whole time she is on stage.” When dancers deliver “interesting” movements, he explains, they can create different visual and, in turn, emotional experiences for audiences.

REVIEWS | By Rachel Elderkin

Dreamscapes

“The Peony Pavilion,” a 16th-century play written by Tang Xianzu during the Ming Dynasty, is one of the most famous love stories of Chinese literature. Originally performed as a 20 hour-long Kunqu opera, the National Ballet of China have created a considerably condensed version that has become one of the key works in their repertoire.

REVIEWS | By Jade Larine

Kylián's Liturgy

A newsworthy ballet director, Aurélie Dupont has remained quite vague about her artistic projects for the company since she took office, after Benjamin Millepied’s quick resignation.

REVIEWS | By Merli V. Guerra

Love-struck Pirates

Admirers of the classic ballets will welcome Ivan Liška’s restoration of Marius Petipa’s “Le Corsaire,” which made its North American premiere on Boston Ballet this past month at the Boston Opera House in Boston, MA. Boasting the drama of “Swan Lake” and the comedic wit of “Coppélia,” “Le Corsaire” takes to the stage with brilliant gusto, striking technique, and adventurous flair.

REVIEWS | By Gracia Haby

Fabrication

Any time between 3pm and 6pm. That was the deal. Any time within a window. And with freedom to explore. Come and go, as you please. The doors will be left open. Take photos, should you choose. Inhabit the space as you would a public area. Like a park, say. Be a living part of an assemblage. Move within the space. Walk through to the library. Squat beneath the window, recline on the slope, lean against the wall, perch on the ledge just inside the door: it’s up to you. Come, stay, and go, as you please, the invitation stood....

REVIEWS | By Jade Larine

Swans of La Scala

When Ratmansky’s reconstruction of “Swan Lake” premiered in Zurich earlier this year, dancers were still taming a new vocabulary. Except for Viktorina Kapitonova’s sure-footed agility, the outcome was a bit messy on stage. It was hard to capture the essence of the new-old dance language that Russians could enjoy in 1895.

REVIEWS | By Sara Veale

35 Years in the Making

Phoenix Dance Theatre is one of the UK’s oldest contemporary dance companies outside of London. The Leeds-based troupe was founded in 1981 by three graduates, and has since evolved into a ten-member professional ensemble with a sizeable repertory—including works from the likes of Richard Alston and Didy Veldman—and bevy of stage credits around the UK and abroad. Its latest bill, devised to celebrate its 35th anniversary, revives a 1997 work from Dutch-Israeli choreographer Itzik Galili alongside two recent pieces from British dancemakers Kate Flatt and Caroline Finn—a selection that shows off the range of styles the company has to offer...

REVIEWS | By Sara Veale

Justice for Giselle

Forget the merry folk jigs and wispy waltzes; Akram Khan’s “Giselle” entertains none of the levity associated with its 1841 predecessor, one of the most famous ballets to emerge from the Romantic era. The new production, created for English National Ballet, is an angry rebuke of inequality and social stratification, perceptive in its condemnation and admirable in its intensity. Khan has preserved the broad strokes of Théophile Gautier’s original narrative—the lovers from different worlds, the devastating betrayal, the supernatural revenge—but overhauled its setting and tone to present a dark parable about the failures of globalisation. The first half reveals our...

REVIEWS | By Gracia Haby

Aftershock

Darkly, silvered, a grassland of manmade forms grows. It grows in the North Melbourne Town Hall. It is, for now, neatly contained within the designated performance space, but like all things in nature, it is as predictable as it is unpredictable. This constructed grassland of “over 270 poles, strips, or sheets of aluminium, brass, copper and sprung steel”[note]Ashley Dyer, Artist Statement, “Tremor” programme, Arts House, North Melbourne, Victoria, November 2016[/note] hums with life. Its presence felt from the moment I enter the space.

Featured Reads

REVIEWS | Lorna Irvine

Teenage Angst and Institutions

Watching 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,...

INTERVIEWS | Marina Harss

The Me of Today

The choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.

REVIEWS | Rachel Howard

Starry Nights

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.

REVIEWS | Faye Arthurs

America, F**K Yeah

After 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.

REVIEWS | Emily May

Acosta Danza’s Choreographic Soup

An “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.