Other Delights
Last week, during the first Fjord Review Dance Critics’ Festival, Mindy Aloff discussed and read from an Edwin Denby essay during “The Critic’s Process” panel.
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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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Last week, during the first Fjord Review Dance Critics’ Festival, Mindy Aloff discussed and read from an Edwin Denby essay during “The Critic’s Process” panel.
Continue ReadingThere are “Nutcrackers,” and then there’s American Contemporary Ballet’s “The Nutcracker Suite.”
Continue ReadingIs it as traditional as there being “The Nutcracker” or the British pantomime on at Christmas time, for there to be an alternative offering?
Continue ReadingTo paraphrase that great song from “A Chorus Line,” the Los Angeles-based BodyTraffic gave a concert that might best be summed up as, “Dancers 10, Choreographers, well, 3.”
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