From Street to Stage
Hubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
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Like Baz Luhrmann before him, Matthew Bourne’s contemporary reworking of “Romeo and Juliet” adds a coat of grit to fair Verona. Gone are the marbled columns and wrought-iron balconies of the Capulet court; it’s all sheetrock and cold metal bars at the Verona Institute, a juvie-asylum hybrid where disaffected teens are doped into submission. Absent too are the feuding families. Romeo’s parents are shellacked politicians, eager to hand their son over for medicated safekeeping, while Juliet’s are absent from the picture altogether. A legion of tyrannical guards stand in the way of our star-crossed lovers, commanded by a nightmarish Tybalt whose predation of Juliet escalates into rape just minutes into the show.
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Seren Williams and Andrew Monaghan in Matthew Bourne's “Romeo and Juliet.” Photograph by Johan Persson
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Hubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
Continue ReadingThe legendary Cuban dancer Carlos Acosta trained relentlessly to come out of retirement last year for a performance of classical works in celebration of his 50th birthday at the Royal Ballet, where he spent most of his professional career.
FREE ARTICLEThe Dance Theater of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past.
Continue ReadingDespite the fact that dance and music are often regarded as inextricably linked, it remains astonishing to experience the work of a choreographer who channels the score particularly well—or a group of dancers who embody it especially organically. Repertory Dance Theatre’s 58th season closer, “Gamut,” happened to have both.
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