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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This year’s Edinburgh Festival Fringe recorded its fifth highest attendance in its history, a different reality from the ghostly years of the Covid-19 pandemic. But the cost-of-living crisis and the strain the arts sector in Scotland has been under in recent years was still there. Notably within the dance sector, this was most apparent at Dance Base, where Assembly Festival, one of the bigger venue operators, collaborated with the dance house to co-curate the programme and help alleviate costs. While it was great that Assembly was able to support Dance Base and its artists to continue to put on their shows, it was still slightly strange seeing the red Assembly branding next to the (newly rebranded) purple colours of Dance Base.
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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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