Becoming David
Who is David Roussève? Is he a 64-year-old African American dance/theater artist taking to the stage in a solo outing for the first time in 20 years? Check!
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The Final Stage
Folded forward at the waist, knees pressed together, but with her feet apart, Rachel Coulson assumes bird-like form. With her legs held as if bound at the knees, she travels backwards. Arms extended away from her torso giving the impression of wings, she rotates her hands as if her feathery tips are taking readings of the environment around her. In the conjuring of shapes, of course a waterbird appears before my eyes. This is part two of DanceX, presented by the Australian Ballet, where Stephanie Lake Company’s “Auto Cannibal,” replete with Coulson’s bird-like solo, shares the stage with West Australian...
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Limón's New Look
Limón Dance Company launches its 80th anniversary season with three works that represent the company’s past, present, and future. They not only celebrate José Limón, but demonstrate how his themes guide the company in fresh new ways.
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The Take Away
Who would think that the unglamorous prep work in a Thai restaurant kitchen would serve as an idea for a choreographic work?
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Dream Ballets
It’s hard to imagine a ballet quite as exquisite as Michel Fokine’s 1909 “Les Sylphides.” The white tutu piece, set to a score by Fredéric Chopin, introduced the world to the concept of a plotless ballet—and, in that, opened the door for every choreographer who was to come.
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Turn Up, Turn Out
Tiler Peck has easily proven she can pull off multiple roles: dancer, in addition to artistic director, choreographer, and curator. The success of “Turn It Out With Tiler Peck and Friends”—which debuted at City Center in 2022 as its inaugural Artists at the Center program and has since been performed across the U.S. and in London—is evidence of that.
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Art of Seduction
It’s a foregone conclusion that no matter how young, how beautiful, how alive one may be, death can come at any time.
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The Big World in Small Spaces
London has very little to do to convince the world of its artiness. It’s often given that eye-roll inducing title of a ‘world city;’ whatever your heart wishes to see will probably, at some point, make its way through London.
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Balletic Battlegrounds
The New York City Ballet’s Fall Fashion Gala was unusually tense this year, as the dancers refused to walk the red carpet or attend the post-performance dinner in protest of the standstill on their collective bargaining agreement.
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Devotion and Desire
Sir Kenneth MacMillan began his choreography for “Manon” with the pas de deux, and from this shining, central point spun outward. Building the story from its heart, almost as if from the inside out, the pas de deux reveals not only the emotional connection between the two dancers, but their place in the world.
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Creative Risk
If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
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Diamonds are Forever
It’s amusing to read in Pacific Northwest Ballet’s generally exceptional program notes that George Balanchine choreographed the triptych we now know as “Jewels” because he visited Van Cleef & Arpels and was struck by inspiration. I mean, perhaps visiting the jeweler did further tickle his imagination, but—PR stunt, anyone?
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Spellbound
Two performers crawl in on hands and knees wearing neon green, hooded coveralls—the lightweight papery kind made for working in a sterile environment—and clusters of balloons pinned to their backs.
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Green Light
Will Rawls makes boundaries visible by defying them. Known for the disciplinary and topical range of his projects, the choreographer, director, and performer approaches issues of representation in “[siccer],” a multi-part, multi-site work co-presented by L’Alliance New York’s Crossing the Line Festival. A live performance at Performance Space New York...
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It is always interesting when multiple theme steps emerge over the course of a mixed repertory evening, but it is uncanny on one featuring five different ballets, each with a different choreographer and composer, covering a twenty-year span (2005-2025).
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Of Dandelions and Resilience
Zvidance premiered its new work “Dandelion” mid-November at New York Live Arts. Founded by Zvi Gotheiner in 1989, Zvidance has been a steady presence in the New York contemporary dance scene, a reliable source of compositional integrity, and a magnet for wonderful dancers.
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The Music Within
Cleveland native Dianne McIntrye received a hometown hero's welcome during her curtain speech prior to her eponymous dance group thrilling the audience in her latest work, “In the Same Tongue.”
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