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REVIEWS | By Apollinaire Scherr

Fault Lines

“The Inkomati (dis)cord”—a world-travelling collaboration between dance-theatre artists Boyzie Cekwana of Soweto and Panaibra Canda of Maputo, Mozambique—ends on a bright, sardonic note, with a multilingual game of “Telephone.” The words travel down a bench of performers—from Portuguese, Mozambique’s official language, to Sena, one of its native languages, back to Portuguese, and finally to South African English, all of which, including the English, appears in English surtitles on a screen behind the action. As for the story, a woman’s dangerous border-crossing becomes, by the end of the line, a bid for a boob job and a bucket of KFC.

REVIEWS | By Victoria Looseleaf

Woman in a Room

Every era has its balletic superstars. From the early 18th century rivals, Marie Sallé and Marie Camargo, through the Romantic period’s Marie Taglioni (the world’s first “La Sylphide”), who was so adored that a male fan allegedly ate her slipper, ballet has mostly been about feminine mystique, beauty and allure. The beginnings of the 20th century saw those ideals embodied in Anna Pavlova, whose “Dying Swan” captivated the world and who may have been the first ballerina to embrace branding, endorsing beauty products and department stores, as well as gracing the pages of fashion magazines.

REVIEWS | By Victoria Looseleaf

Beauty & Anger

Beauty and anger co-exist in a restless evening of hard-driving dance and thrashing rock music in Susan Marshall’s “Play/Pause.” The Los Angeles premiere of the 75-minute, neo-rave-like work features an original score by Pulitzer Prize-winning composer, David Lang (of Bang-On-A-Can fame and frequent Marshall collaborator), and marks only the second time that the New York-based troupe, currently in its 27th year, has performed at Royce Hall. (The work has its New York premiere at BAM Fisher November 20.)

REVIEWS | By Apollinaire Scherr

Kafka-esque

In art as in life, there is no such thing as being faithful enough. Fidelity is an absolute. It cannot be measured in numbers of steps or scenes preserved any more than a romantic betrayal can be calibrated by the quantity of lovers taken on the side, though the numbers do tell some kind of story. Rather, faithfulness to a text, whether choreographic or literary, is a question of spirit. We want a given “Swan Lake” or, in the present case, adaptation of Kafka’s Metamorphosis to honour the heart of the work (as we understand it).

REVIEWS | By Gracia Haby

A Surrealist Cinderella

Tick, tock. Tick, tock. Sergei Prokofiev’s beautifully eerie time keeping score. Tick, tock. Tick, tock. A row of conical hedges transform with one rotation into metronomes. Tick, tock. Tick, tock. A dancer’s leg strikes twelve, over and over. Tick, tock. Tick, tock. A leg can swing like a pendulum, oscillating back and forth from a central point. A body has become a clock, proving Salvador Dali true: “every portrait can be transformed into living room furniture,”[note]Espace Dali, Monmartre: http://www.daliparis.com/english/dali-designer.html[/note] and thus Mae West’s lips become a sofa on which to sit. The body can become an object and an object...

REVIEWS | By Gracia Haby

The Last of the Romantics

“I continued for a long time to live in that delightful but short-lived state where love and innocence can co-exist in one heart. She had sent me away. Everything called me back to her, I had to return. This return decided my fate, and long before I came to possess her, I lived only for her and my whole life was in hers. Ah! if only I had satisfied her heart and she satisfied mine! What peaceful and delightful days we should have spent together! We did indeed have such days, but how brief and fleeting they were, and what...

DANCE FILM | By

The Everything and Nothing of Frances Ha

By Charlotte St Clair Wilson

REVIEWS | By Gracia Haby

Of a Feather

If this work were a postcard I found whilst searching for collage material, I would see no room left in foreground, middle ground or background for me to play with. The scene is set, rendered perfect. Move on, it would say—for what can you add to what is already complete? What is already done? If you wanted to learn more of “Swan Lake,” is there more to glean here that you cannot already learn in reading about the ballet, or listening to the choreographer Graeme Murphy and creative associate Janet Vernon speak about their work in interview? Or better still,...

REVIEWS | By Gracia Haby

Bella Figura

I read ballet through the prism of art, my background training. And it is by holding this prism before your eyes that I will take you with me, beginning with George Balanchine.

REVIEWS | By Gracia Haby

Finding Your Inner Monster

Monstrous is misshapen. It is disgusting and ghastly. It is hideous and grotesque. The opposite of lovely—any thesaurus can give you a list longer than a fiend’s tale of words to describe a creature ugly, malformed, repulsive, repellent and horrifying.

REVIEWS | By Gracia Haby

Ritual & Dance

On a warm March evening, myself and a handful of other curious souls climbed the narrow steps of the aptly named Tower Theatre. The space is dark, and we are quiet as we enter, cloaked by the hush darkened spaces require. The theatre seats 100, but it feels smaller. It feels close and intimate. We negotiate the darkness and find a seat, production notes in hand. There is the feeling of having entered someplace else. We’ve left the theatre, as it were, and we are seeing what normally we would not be able to see: “[Gu:t] 굿 ”, conceived and...

REVIEWS | By Gracia Haby

Dance, for the time being

Organs, teeth, flesh, bone. Part indestructible, part fallible. That the body is a marvellous tool none would deny. All this and more one knows and during a thirteen-day festival expects to see in someway put to the test. The body and its limits. The body and its brilliant workings. It can bend. It can turn into liquid silk. It can roll and it can convulse. It can operate as if possessed. Faces can be blank. They can be expressive. Fun can be poked, and the mirror proves always a fascination. Literally, in the sense of Anouk van Dijk’s new work...

Featured Reads

REVIEWS | Lorna Irvine

Teenage Angst and Institutions

Watching 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,...

INTERVIEWS | Marina Harss

The Me of Today

The choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.

REVIEWS | Rachel Howard

Starry Nights

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.

REVIEWS | Faye Arthurs

America, F**K Yeah

After 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.

REVIEWS | Emily May

Acosta Danza’s Choreographic Soup

An “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.