Spring Dances
It was a tri-polar night—but in a good way—last weekend, with a trio of high-energy, beautifully crafted works performed by the spectacular members of L.A. Dance Project.
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Six dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette. They look like filigreed latticework as they stand, some in first position, some with one foot arched, heel resting against the opposing ankle. After a beat, they casually step into a wider stance: easy knees, softness in the torso, maybe an arm to the hip. Stationary for a moment, then they disperse. Today is the first time they have access to the theater—the James and Martha Duffy Performance Space at the Mark Morris Dance Center in Brooklyn. The premiere of “Smile, though your heart is aching,” choreographed and directed by Megan Williams, is a mere three weeks out.
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It was a tri-polar night—but in a good way—last weekend, with a trio of high-energy, beautifully crafted works performed by the spectacular members of L.A. Dance Project.
Continue ReadingOn a mild spring night, the New York City Ballet held a similarly temperate Gala performance. The flower arrangements were lovely, the speeches were okay, the two premieres weren’t bad, and the Balanchine excerpt was sturdy. In almost every way, it was an enjoyable—if not overly momentous—night at the ballet.
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