A Danced Rituel
When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
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Smuin Contemporary Ballet is a different company than when it last came to New York in 2012, five years after the sudden death of its popular founder. Michael Smuin was known for his highly accessible works full of musical theater splash. While his San Francisco based company continues to perform his repertory, it has commissioned a broad range of new work under succeeding director, Celia Fushille. The program they brought to the Joyce Theater this week had a bit of the old Smuin light touch about it, while also pointing to the company’s future. Nestled between a Val Caniparoli piece from 2014, and Annabelle Lopez Ochoa’s “Tupelo Tornado” (2024), incoming artistic director Amy Seiwert’s “Renaissance (2019) was the most engaging work of the evening. All three productions are New York premieres.
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When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
Continue ReadingSan Francisco’s War Memorial Opera House is a grand, gracious theater, so it was a big deal to see the San Francisco Ballet School hold its end-of-year performances in that hall for the first time since at least 1985.
Continue ReadingAt its heart, “Sylvia” is a ballet about the resistance to love—a theme that continues to resonate deeply, as the human spirit often recoils from love, driven by fear, pride, a need for control, or the weight of duties and moral constraints.
Continue ReadingSince the 1970s, the Paris Opera Ballet has cultivated a distinctive tradition of nurturing its own dancers as emerging choreographers.
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