No extravagant gestures accompanied the final curtain of Sylvie Guillem’s farewell performance at the London Coliseum, which marks the end of her 39 prolific years on the stage—no lavish bouquets of roses were presented, no encores demanded or tearful hand-on-heart curtseys obliged.
To my mind, following this train of thought, both Reckless Sleepers with Nat Cursio’s performance of “A String Section” (2012) and the premiere of Sarah Aiken’s “SET,” celebrate the utilitarian object, redefining its role and how we regard it.
Jacques Heim has been obsessed with geometric shapes for years. After founding the risk-intensive, hyper-physical dance troupe DIAVOLO | Architecture in Motion™, in Los Angeles in 1992, Paris-born Heim translated that passion into full-blown, custom- designed stage sets.
Not too many dancers have a desire to perform in Newfoundland. But Louise Lecavalier, who got the idea from reading Annie Proulx’s book, The Shipping News, is decidedly unlike any dancer—past or present—in the universe.
As long as those of us with deep knowledge of dance fail to develop a “universal without which there would be no [dance],” ignorant formulations will fill the gap, guaranteeing dance’s low status and poor representation among the arts.
American Ballet Theatre’s brand new production of “The Sleeping Beauty” proved the most anticipated and talked about event of the ABT’s spring season at the Metropolitan Opera House, and the highest point of the company’s 75th anniversary celebrations.