Super Nothing
In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
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In spring of 2017, Ellen Graff, Stuart Hodes, and Marnie Thomas Wood, all former members of the Martha Graham Dance Company, and Tony award-winning Broadway choreographer George Faison, set out to make dances for a group of older adults, many of whom had never performed onstage. Josefina Rotman Lyons, an older dancer herself, volunteered to film the project. The resulting documentary, “Revival,” is an honest and engaging take on what it’s like to dance in later life. Now available for streaming at Revivaldocumentary.com, the film won jury and audience awards when it made the rounds of film festivals. At a screening hosted by MGDC last week at its Westbeth studio theater in New York City, artistic director Janet Eilber framed the film’s topic as “longevity, aging, and beauty in the world of dance” when athleticism and youth are now so highly valued. “We celebrate that dance isn’t just for those under 40,” said Thomas Wood during the question and answer session that followed.
Michelle van Vlaanderen in rehearsal for Revival, a film by Josefina Rotman Lyons
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In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
Continue Reading“Well, it’s big,” Seattle ballet fans were saying as they headed into McCaw Hall’s sleek sanctuary of velvet settees and shiny metal staircases.
Continue ReadingWho says choreography can’t be taught? Not Ellen Robbins, a modern dance educator who has been teaching the art of choreography to young people in Soho for decades.
Continue ReadingNever forget!” With the 80th anniversary of the liberation of Auschwitz and International Holocaust Remembrance Day both having been recognized last month, these words, although unspoken, coursed through Melissa Barak’s first evening-length ballet, “Memoryhouse.”
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