Child's Play
Co. Un Yamada, a dance company and creative collective established in Tokyo in 2002, returned to the New National Theatre Tokyo last week to reprise their popular family-friendly production from 2021, “Obachetta.”
Continue ReadingWorld-class review of ballet and dance.
Casting is central to the most recent revival of Pina Bausch’s “The Rite of Spring.” Touring with a new duet entitled “common ground[s],” the mixed bill was put together as an homage to Bausch. While Bausch’s 1975 masterwork features 34 extremely talented, diversely trained dancers from 14 African countries, “common ground[s]” creates an entire universe with just two captivating dancers in their seventies: Senegalese-French choreographer Germaine Acogny, founder of the international education center for traditional and contemporary African dances, Ecole des Sables, and the French dancer Malou Airaudo, who is a former member of Bausch’s Tanztheater Wuppertal. The show, co-produced by the Pina Bausch Foundation, Ecole des Sables, and Sadler’s Wells, was set to premiere in Dakar in early 2020, but the pandemic forced the newly assembled company to disband before that performance. (However, the film “Dancing at Dusk,” captures the final run through of “Rite,” on a beach, before the world went into lock downs. It is available here through Friday, January 5th.)
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Co. Un Yamada, a dance company and creative collective established in Tokyo in 2002, returned to the New National Theatre Tokyo last week to reprise their popular family-friendly production from 2021, “Obachetta.”
Continue ReadingVous les voyez, les étoiles dans la salle?” the woman next to me whispered as the lights dimmed. And indeed, the stalls glittered with former stars of the Paris Opéra Ballet— dancers I recognised, visibly moved and deep in conversation during the interval.
Continue ReadingThere is probably no more beloved ballet, by audiences and dancers alike, than “Romeo and Juliet.”
Continue ReadingIn 2017 Virginie Mécène reimagined the lost Martha Graham solo “Ekstatis.” A review from that Martha Graham Dance Company premiere ended with a strong vote of confidence from critic Gia Kourlas: “Ms. Mécène should keep going.”
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