World-class review of ballet and dance.
The Sarasota Ballet’s return to Jacob’s Pillow for five days of a triple bill that included two little-seen works by Sir Frederick Ashton and a world premiere by Jessica Lang, was charged with anticipation and curiosity.
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Ingrid Silva’s expression is calm, the side of her mouth upturned a few degrees, as if she’s delighting in the reception of her own joke.
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Why Not Theatre’s bold, multidisciplinary adaptation of the Mahabharata drew a rapt audience at Lincoln Center’s vibrant summer arts festival “Summer for the City.”
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Washington, D.C.’s 100° June weather wasn’t the only thing generating heat in the city. Chamber Dance Project’s 11th annual D.C. summer season production, “Red Angels,” produced its own scorching intensity as one of this summer’s early triumphs.
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A ballet body is essentially a deformed body. The older and more experienced the dancer, the more evident–and beautiful–this deformation is.
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To celebrate its 85th anniversary, the American Ballet Theatre filled its summer season with exciting debuts.
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A delightful production, served with verve: the National Ballet of Japan’s recent performance of “Alice in Wonderland” was an unabashed celebration of imagination, deftly showcasing all the wacky wonder of Christopher Wheeldon’s modern ballet classic.
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Casual perfection. Studied grace. Spontaneous elegance. These are but a few of the words that came to mind when this writer observed nine gorgeous dancers from LA Dance Project and four students from the Trudi Zipper Dance Institute at the Colburn School, cavorting around the courtyard and grounds of the Wallis Annenberg Center for the Performing Arts last Friday in Janie Taylor’s “Anthem.”
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So, shoe me! Seriously, there have been countless iterations of the ballet “Cinderella,” all pivoting around footwear, whether pointe, glass or golden slippers. Indeed, this particular terpsichorean fairytale can be traced back to the early nineteenth century, but it wasn’t until Prokofiev finished his brooding Romantic score in 1944 that choreographers, including Frederick Ashton, Rudolf Nureyev and Alexei Ratmansky, began telling the tale of fairy godmothers, crystal coaches and a rags-to-riches heroine.
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There’s a small moment in Rena Butler’s new “Cracks” that I think only could have become possible at Pacific Northwest Ballet, which commissioned it.
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This year marked the 60th anniversary of the School of American Ballet’s annual Workshop Performances. The programming was unusually democratic this year.
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We are all of us, beings, in a constant state of continual change. We humans are a composition of oxygen, carbon, and hydrogen.
Continue ReadingLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
Continue ReadingIt is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Continue ReadingAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Continue ReadingOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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