Modern Dance Hold’em
Lassoing is a surprising through-line for a Martha Graham Dance Company performance. The theme steps generally tend towards the child-birthing variety: contractions and deep squats.
Continue ReadingWorld-class review of ballet and dance.
Six dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette. They look like filigreed latticework as they stand, some in first position, some with one foot arched, heel resting against the opposing ankle. After a beat, they casually step into a wider stance: easy knees, softness in the torso, maybe an arm to the hip. Stationary for a moment, then they disperse. Today is the first time they have access to the theater—the James and Martha Duffy Performance Space at the Mark Morris Dance Center in Brooklyn. The premiere of “Smile, though your heart is aching,” choreographed and directed by Megan Williams, is a mere three weeks out.
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Lassoing is a surprising through-line for a Martha Graham Dance Company performance. The theme steps generally tend towards the child-birthing variety: contractions and deep squats.
Continue ReadingAs a dance viewer, it’s easy to get swept up in the grand movements in a piece, glossing over the finer details.
Continue ReadingHubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
Continue ReadingThe legendary Cuban dancer Carlos Acosta trained relentlessly to come out of retirement last year for a performance of classical works in celebration of his 50th birthday at the Royal Ballet, where he spent most of his professional career.
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