As France was mourning the loss of its Nice fellow citizens, the warm tribute which the NYCB paid to French musical heritage with an all-French-composers evening proved heartening. It doesn't matter that the program was planned long before the attacks happened; it is only with the heart that one can see rightly.
At the Roman Amphitheatre in Fiesole, a town on a hill that dominated Florence from above, the sidereal luminosity of a cloudless night, married with the soft (for once) hum of the cicadas and the breathtaking roman and etruscan stones reminiscent of classical artistic glory, provide the ideal setting for a dance gala.
Feminism, queer theory, ontology, postcolonialism—these subjects and more cropped up in the whirlwind 90 minutes I recently spent interviewing Cecilia Lisa Eliceche ahead of the UK premiere of her latest work, “Unison.”
One of the greatest challenges—and for me, joys—of being a dance critic is navigating the not infrequent clash between contemporary values and those embraced in classical ballet, a centuries-old institution that venerates ‘tradition’ in all its old-world, patriarchal glory. What messages of value can women divine from stories that glorify female fragility and are primarily written and directed by men?