With Raised Voices
Stories are embedded in the dances of Gregory Maqoma, the South African choreographer and dancer whose work, “Broken Chord,” is currently at the Brooklyn Academy of Music’s Harvey Theater.
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A Bullseye
“Carmen” has been in the air this year. Especially at the Kimmel Cultural Campus. Almost as a prelude to the Philadelphia Ballet’s “Carmen,” the Philadelphia Orchestra presented choreographer Brian Sanders’ aerial play on Rodion Shchedrin’s 1967 “Carmen Suite” (created for his wife, the Bolshoi’s Maya Plisetskaya) last March at Verizon Hall.
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Layered and Redolent
In 2019, Pam Tanowitz gripped London with “Four Quartets,” an ode to T.S. Eliot that sparked five-star reviews and declarations of her supremacy in the 21st-century dance theatre scene.
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Radical Dance for Now
The Martha Graham Dance Company filled some of the Metropolitan Museum’s most impressive spaces for two full days with pop-up performances of six Graham solos choreographed in the 1930s.
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Quick Quick Slow
Malpaso Dance Company brought a vibrant slice of Cuban life to the Joyce last week: virtuosic dance, live music, humor, and of course, the salsa—an element that was ever-present as a through-line for the evening.
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Gentlemen’s Club
Not for the first time at the Fall for Dance Festival, now in its 20th year, Chippendale’s emerged as the theme of the night. There were 32 male dancers across the three works on the festival’s third program, 31 of whom danced shirtless.
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Match Point
In 1913, a few weeks before the premiere of his revolutionary “Rite of Spring,” Nijinsky created another, smaller ballet for the Ballets Russes.
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A Season of Balanchine
The ballets of George Balanchine are a window into the company he, with the help and support of Lincoln Kirstein, created three quarters of a century ago. The fact that they and the company are still here is a kind of miracle if one thinks of the short afterlife of most ballets. How lucky we are that the two men met, and that Kirstein convinced Balanchine to try his luck in New York.
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Going Whole Hog
Backdropped in layers of flowy plastic sheeting, an enormous inflatable nut brown sow dominates the stage. Projected video make it appear uncannily as if it’s breathing.
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Sticks and Stones
For remote fans of Pacific Northwest Ballet, the curiosity increases as the calendar days tick further beyond the pandemic: How is the company still offering digital recordings of so much of its programming? And how much longer can the company keep offering these? The dread of losing digital access is felt especially after PNB’s latest streaming wonder, a tribute to the theatrical brilliance of Nederlands Dans Theater, danced with such mirth and fluency that you might suspect the performance had been filmed in Amsterdam rather than in Seattle’s McCaw Hall.
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Animal Kingdom
It may not be the height of fashion—a dull grey hoodie worn upside down and backwards—but it certainly served a higher purpose in, “These Are the Ones We Fell Among,” a one-hour duet seen last weekend at the UCLA Nimoy Theater. (Formerly the Crest Theatre, the reimagined movie hall named for the late actor, director, and philanthropist Leonard Nimoy, has a full slate of performances scheduled for its inaugural 2023-24 season.)
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Sunday at the Ballet with George
The elegant woman seated next to me at the Sunday matinee was excited to see Sara Mearns in “Slaughter on Tenth Avenue.” This was high praise, as she had fond memories of Suzanne Farrell and Arthur Mitchell in the piece—the ballet’s original 1968 cast.
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Spellbound
Two performers crawl in on hands and knees wearing neon green, hooded coveralls—the lightweight papery kind made for working in a sterile environment—and clusters of balloons pinned to their backs.
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Green Light
Will Rawls makes boundaries visible by defying them. Known for the disciplinary and topical range of his projects, the choreographer, director, and performer approaches issues of representation in “[siccer],” a multi-part, multi-site work co-presented by L’Alliance New York’s Crossing the Line Festival. A live performance at Performance Space New York...
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It is always interesting when multiple theme steps emerge over the course of a mixed repertory evening, but it is uncanny on one featuring five different ballets, each with a different choreographer and composer, covering a twenty-year span (2005-2025).
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Of Dandelions and Resilience
Zvidance premiered its new work “Dandelion” mid-November at New York Live Arts. Founded by Zvi Gotheiner in 1989, Zvidance has been a steady presence in the New York contemporary dance scene, a reliable source of compositional integrity, and a magnet for wonderful dancers.
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The Music Within
Cleveland native Dianne McIntrye received a hometown hero's welcome during her curtain speech prior to her eponymous dance group thrilling the audience in her latest work, “In the Same Tongue.”
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