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Modern Figures
REVIEWS | Elsa Giovanna Simonetti

Modern Figures

“Racines”—meaning roots—stands as the counterbalance to “Giselle,” the two ballets opening the Paris Opera Ballet’s season this year.

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Giselle Status
REVIEWS | Elsa Giovanna Simonetti

Giselle Status

“Giselle” is a ballet cut in two: day and night, the earth of peasants and vine workers set against the pale netherworld of the Wilis, spirits of young women betrayed in love. Between these two realms opens a tragic dramatic fracture—the spectacular and disheartening death of Giselle.

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At Giselle’s House
REVIEWS | Sophie Bress

At Giselle’s House

Michele Wiles’ Park City home is nestled in the back of a wooded neighborhood, hidden from the road by pines and deciduous trees that are currently in the midst of their autumn transformations.

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French Jewels
REVIEWS | Victoria Looseleaf

French Jewels

It was a grand night of show and—well, show more—as eight members of L.A. Dance Project strutted their gorgeous, technically brilliant stuff in the US premiere of “Gems.”

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Traditional Tales Retold
REVIEWS | Eva S. Chou

Traditional Tales Retold

During the summer, two Chinese dance productions came to Koch Theater at New York’s Lincoln Center: “Lady White Snake” from Shanghai Grand Theater in July and “Butterfly Lovers” from Hong Kong Ballet in August.

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A New Performance Language
REVIEWS | Karen Greenspan

A New Performance Language

I walk into Roulette, a rough-around-the-edges world music venue, a couple of blocks from the Brooklyn Academy of Music (BAM). I am attending “Dambudzo,” presented as part of BAM’s Next Wave Festival, brought to the neighborhood by the bold imagination and creative enterprise of Zimbabwe performing artist Nora Chipaumire.

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Breakaway
REVIEWS | Karen Greenspan

Breakaway

A rehabilitated 117-year-old power plant situated on the Gowanus Canal in Brooklyn, once a toxic waste site, now houses an amazing new contemporary arts hub—Powerhouse Arts.

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An Evening of Horror
REVIEWS | Merilyn Jackson

An Evening of Horror

To say the least, the true story of a juvenile axe murderer seems unlikely to inspire a ballet. But the legends surrounding the late nineteenth-century murders of Lizzie Borden’s father Andrew and her stepmother, Abby persist, perhaps because Lizzie was ultimately acquitted, and no other suspect was ever identified or brought to justice.

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Breaking the Waves
REVIEWS | Eoin Fenton

Breaking the Waves

As October starts to draw to an end, so too does Dance Umbrella, London’s annual international dance festival. Having worked their way through the Barbican and Sadler’s Wells East, one of the final programmes is on at the Place—which has had an especially impressive Autumn season.

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Tip of the Hat
REVIEWS | Faye Arthurs

Tip of the Hat

This fall, the American Ballet Theatr is celebrating its 85th anniversary by highlighting the choreographers key to the company’s history. Agnes de Mille, Antony Tudor, Frederick Ashton, Michel Fokine, Marius Petipa, George Balanchine and Alexei Ratmansky are all featured, but only Twyla Tharp got her own night.

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On Love and Mortality
REVIEWS | Elsa Giovanna Simonetti

On Love and Mortality

What’s special about Rudi van Dantzig’s “Romeo and Juliet” is how deeply it is steeped in the textures of popular devotion and everyday life, reminiscent of Flemish painting in its chiaroscuro and crowded humanity.

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