Lists of Promise
“Lists of Promise,” a new work currently in a two-week run from March 13- 30 at the East Village cultural landmark, Theater for the New City, promised more than it delivered, at least for now.
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On the evening of March 7th, New York City Ballet opened a run of shows at Sadler’s Wells Theatre. This performance, which marked the company’s first appearance in London since 2008, was met with equal parts excitement and nervous anticipation. The troupe has undergone a number of seismic shifts in the last 16 years: in 2017, the longtime artistic director, Peter Martins, resigned in the face of abuse claims; in 2018, a nude photo-sharing scandal erupted, resulting in the firing of three male principal dancers; and in 2020, over a year’s worth of performances were canceled due to the Covid pandemic. Fortunately, none of these upheavals have managed to detract from the particular pleasure that arises from watching NYCB in action. For New Yorkers like myself in the audience, that pleasure was only doubled.
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“Lists of Promise,” a new work currently in a two-week run from March 13- 30 at the East Village cultural landmark, Theater for the New City, promised more than it delivered, at least for now.
Continue Reading“State of Heads” opens with a blaze of white light and loud clanking onto a white-suited Levi Gonzalez, part Elvis, part televangelist addressing his congregation. A pair of women sidle in—Rebecca Cyr and Donna Uchizono—dressed in ankle-length white dresses and cowered posture.
Continue ReadingThe late John Ashford, a pioneer in programming emerging contemporary choreographers across Europe, once told me that he could tell what sort of choreographer a young artist would turn into when watching their first creations.
Continue ReadingLast weekend, the Royal New Zealand Ballet hosted two nights of performance in collaboration with the Scottish Ballet at the St. James’ Theatre in Wellington, New Zealand. The bill included two works by choreographers affiliated with Scottish Ballet, and two by RNZB choreographers. There was welcome contrast in timbre and tempo, and common themes of self-actualisation and connection, through a love of dance. As RNZB artistic director Ty King-Wall announced in the audience address, the two-night only performance was in the spirit of “bringing the companies together in mutual admiration and respect.”
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