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Few established artists hold recitals anymore. The word “recital” feels both elementary and antiquated, evoking either children parading across an auditorium stage or a nineteenth-century drawing room where the gentry whisper secrets around a pianoforte.
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It’s not often that one gets to hear a soprano recital in an up-close-and-personal setting. And it’s even rarer that said soprano has a pair of dancers moving about the stage as part of the performance.
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The first moments of Risa show the petite Risa Steinberg seated at a sleek desktop in her New York apartment.
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The ballet community in Los Angeles, quite large and scattered, is fond of opining that they live in a “tough town for ballet.”
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Dance artists and scholars have long asked the same question: how do we document an art form that, by nature, exists in one moment and is gone the next?
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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.
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George 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.”
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What 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.
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San 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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In general, one knows exactly what to expect of a Pam Tanowitz piece. There will be deconstructed ballet and modern steps.
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When I think of the desert, the first impression that comes to mind is of unrelenting heat, stark shadows, the solitude of vast space, occasional winds, and slowness.
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Two works, separated by a turn of the century. One, the final collaboration between Bill T. Jones and Arnie Zane; the other, made 25 years after Zane’s death.
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Last December, two works presented at Réplika Teatro in Madrid (Lucía Marote’s “La carne del mundo” and Clara Pampyn’s “La intérprete”) offered different but resonant meditations on embodiment, through memory and identity.
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In a world where Tchaikovsky meets Hans Christian Andersen, circus meets dance, ducks transform and hook-up with swans, and of course a different outcome emerges.
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Mao Zedong’s famous statement that women hold up half the sky may sound poetic and even liberating.
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The men are already on stage when the audience filters into the theater. Some stand stretching at the ballet barres, aligned in neat rows, and others move around, jumping, swinging their legs, lunging.
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The questions that the choreographic duo known as Baye & Asa set out to answer in their in-progress work, “At the Altar” may or may not be rhetorical: Who or what do we worship? How do we worship? Who are the righteous? Who are the blasphemous?
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On the rear wall of New York Live Arts’ black box theater, two grids of a dozen headlamps each resemble the glaring light towers of a sports arena.
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Two productions in one, “World Tales in Dance,” was a charming, crowd-pleasing afternoon of dance theatre.
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In Jo Warren’s “All Mouth,” five dancers perform what could be an action scene from a movie with the playback speed slowed down and sound turned off.
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