World-class review of ballet and dance.
I’d nearly forgotten the many pleasures of watching dance from a folding chair on a riser in a SoHo loft, sound of sirens and traffic rising from the street outside to compete with the more subtle notes of a cello.
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Ola Maciejewska’s “Bombyx Mori” is the second hour-long work in the “Dance Reflections” festival I’ve seen so far. Is this a new trend in European dance, I wonder?
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American Ballet Theatre’s fall season has been brief, too brief to form a sense of the new director Susan Jaffe’s tastes and intentions.
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In Sankai Juku's “Kōsa,” bodies don't just speak, they echo. Movement is generated on dancers then released into the air.
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Every human dreams of flying at some point. We watch the birds and imagine ourselves soaring above the landscape.
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“What is dance?” is a question posited by postmodern choreography, and postmodern choreographers generally seek to answer it through means as far away from conventional notions of dance as possible.
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To consider (La)Horde is to contemplate cool. The French collective is made up of artists Marine Brutti, Jonathan Debrouwer, and Arthur Harel.
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What’s that you see out of the corner of your eye? Is the painting . . . moving? In Florence Peake’s “Factual Actual,” the artist and her collaborators break down the boundaries between inanimate objects and living people with calm assurance and a dash of whimsy.
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Think Sankai Juku on steroids, or a sort of fractured Sufism where spinning does rule, but in the über-darkness of night.
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“States of Hope,” is a clever way to describe the conflicting internal voices that Hope Boykin brings to life in her new dance memoir that premiered at the Joyce in New York.
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For the first season fully programmed by its new artistic director Susan Jaffe, American Ballet Theatre has chosen to look back and, in a sense, shop its own closet.
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This fall, Bjayini Satpathy has returned to New York to present what she has been developing in her home studio just outside of Bangalore in India.
Continue ReadingWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
Continue ReadingThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
Continue ReadingAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
Continue ReadingAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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