Modern Figures
“Racines”—meaning roots—stands as the counterbalance to “Giselle,” the two ballets opening the Paris Opera Ballet’s season this year.
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Fjord Review #7
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Giselle Status
“Giselle” is a ballet cut in two: day and night, the earth of peasants and vine workers set against the pale netherworld of the Wilis, spirits of young women betrayed in love. Between these two realms opens a tragic dramatic fracture—the spectacular and disheartening death of Giselle.
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At Giselle’s House
Michele Wiles’ Park City home is nestled in the back of a wooded neighborhood, hidden from the road by pines and deciduous trees that are currently in the midst of their autumn transformations.
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Cathy Marston's Sense of Narrative
I joined choreographer and artistic director Cathy Marston over a video call at the end of another day of rehearsals.
Continue ReadingLondon City Ballet Spreads its Wings
Times are hard for ballet. With national funding that favours the new and the bold, ticket prices rising, and accusations of elitism, only a fool would start a company focused...
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French Jewels
It was a grand night of show and—well, show more—as eight members of L.A. Dance Project strutted their gorgeous, technically brilliant stuff in the US premiere of “Gems.”
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Lee Jong-Ho, for the Love of Art
Before founding the Seoul International Dance Festival, Lee Jong-Ho began his career as a journalist.
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Traditional Tales Retold
During the summer, two Chinese dance productions came to Koch Theater at New York’s Lincoln Center: “Lady White Snake” from Shanghai Grand Theater in July and “Butterfly Lovers” from Hong Kong Ballet in August.
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Amy Watson, A Steady Hand
When Amy Watson took the reins at the Royal Danish Ballet one year ago, she entered stormy waters.
Continue ReadingA New Performance Language
I walk into Roulette, a rough-around-the-edges world music venue, a couple of blocks from the Brooklyn Academy of Music (BAM). I am attending “Dambudzo,” presented as part of BAM’s Next...
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Breakaway
A rehabilitated 117-year-old power plant situated on the Gowanus Canal in Brooklyn, once a toxic waste site, now houses an amazing new contemporary arts hub—Powerhouse Arts.
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An Evening of Horror
To say the least, the true story of a juvenile axe murderer seems unlikely to inspire a ballet. But the legends surrounding the late nineteenth-century murders of Lizzie Borden’s father Andrew and her stepmother, Abby persist, perhaps because Lizzie was ultimately acquitted, and no other suspect was ever identified or brought to justice.
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Cinderella Unites East and West
The National Ballet of Japan’s rendition of the Frederick Ashton classic, “Cinderella,” offers an authentic taste of English tradition, subtly flavored by Japanese aesthetics.
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Breaking the Waves
As October starts to draw to an end, so too does Dance Umbrella, London’s annual international dance festival. Having worked their way through the Barbican and Sadler’s Wells East, one of the final programmes is on at the Place—which has had an especially impressive Autumn season.
Continue ReadingTip of the Hat
This fall, the American Ballet Theatr is celebrating its 85th anniversary by highlighting the choreographers key to the company’s history. Agnes de Mille, Antony Tudor, Frederick Ashton, Michel Fokine, Marius...
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On Love and Mortality
What’s special about Rudi van Dantzig’s “Romeo and Juliet” is how deeply it is steeped in the textures of popular devotion and everyday life, reminiscent of Flemish painting in its chiaroscuro and crowded humanity.
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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.
Continue ReadingThe 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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