Refuge and Resistance
In a week of humanitarian crisis, of bodies mobilised and menaced, what a privilege it’s been to take refuge in art that radiates integrity, conviction and splendour.
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World-class review of ballet and dance.
Lucy Guerin is known for her left of field works, and “Split” is no different. The scene of the performance is the Sydney Opera House’s Studio. As far as the Sydney Opera House goes, it is not a common setting for a dance performance. Rather than a large performance space, it is an intimate theatre space; dimly lit, roughly the size of a community hall. The stage is just an open space in the middle of the seats—no curtains, no props, but cordoned off with masking tape to mark the boundaries. Our bags have been security checked and we've been told twice that phones are not to be used during the performance. There is no hint of what is to come except the unusual.
Performance
Place
Words
Lilian Steiner and Melanie Lane perform Lucy Guerin's “Split.” Photograph by Gregory Lorenzutti
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In a week of humanitarian crisis, of bodies mobilised and menaced, what a privilege it’s been to take refuge in art that radiates integrity, conviction and splendour.
Continue ReadingGeorge Balanchine famously said, “ballet is woman.” But unusually, in “Kammermusik No. 2,” he featured an all-male corps de ballet. I can think of one other men-only Balanchine dance, and it happens to be running the same week this winter season: “Prodigal Son.”
Continue ReadingWhat makes a good partner? For the dancers of New York City Ballet who are lined up on the stage—KJ Takahashi, Adrian Danchig-Waring, Emma Von Enck, and Sara Mearns—the answer is different, though together, their responses create a pretty comprehensive prescription. A good partner should be collaborative, honest, present, and sensitive.
Continue ReadingSan Francisco Ballet artistic director Tamara Rojo has often said she believes ballet should operate more like Broadway, where shows have previews and work through revisions before the real premiere.
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