Lifted Spirits
Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
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Choreography, for many, is a mystical art, and one that needs bodies on which to create movement. So, when the pandemic forced a lockdown in 2020, Alonzo King, artistic director and co-founder of the San Francisco-based Alonzo King Lines Ballet, did what he does best, albeit under far different circumstances: He worked inside the troupe’s studios, but in confined bubbles; he sculpted his dancers’ bodies outside at Golden Gate Park; and, among other places, he fashioned forms on a farm in Arizona, all in order to build work for the company’s 40th anniversary.
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Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
Continue ReadingTalk about Gesamtkunstwerk! Jawole Willa Jo Zollar’s “SCAT!...The Complex Lives of Al & Dot, Dot & Al Zollar,” is just that—a total work of art: operatic in scale, replete with stellar musicians and singers, and the glorious dancers of Urban Bush Women, the troupe that Zollar founded in 1984, is also storytelling at its best.
Continue ReadingOf all of Shakespeare’s plays, “Hamlet” might seem the hardest to adapt into dance. Its long soliloquies and a titular character stymied by indecision do not immediately scream movement potential.
Continue ReadingComplexions Contemporary Ballet turned 30 this year, and their two-week residency at the Joyce Theater was a party.
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