Child's Play
Fittingly, I caught Kaori Ito’s charming production “An Upside Down World” on Children’s Day, a national holiday in Japan.
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Breaking the Bank
Every year since 1881 in the forests of northern California, a secretive club of male elites in the world of politics, finance, and culture gather to burn an effigy in front of a giant statue of an owl in order to leave behind the worries of the past.
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Into the Spirit World
Men: You can’t live with ‘em, and you can’t let ‘em die! Seriously, “Giselle,” the über-Romantic dance that premiered in Paris in 1841 and was the peak of the pre-Tchaikovsky ballets (before, for example, “Swan Lake”), was first presented by Los Angeles Ballet in its fifth season.
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The New York City Ballet’s orchestra tackled two new pieces at this year’s Spring Gala: Edouard Lalo’s “Symphonie Espagnole,” with the star violinist Hilary Hahn debuting alongside them in the pit—her first time ever performing while submerged in subterranean darkness—and the Rolling Stones’ “Satisfaction.”
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Stepping Out of the Ring
What gives a dance staying power? What makes any work of art continue to be relevant over time? These are questions I pondered while revisiting Andrea Miller’s “Blush,” performed by her company, Gallim, at 92NY’s Harkness Mainstage Series this spring.
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Raymonda Revival
Asami Maki’s 2004 reworking of Marius Pepita’s “Raymonda” for the National Ballet of Japan dials up the wow-factor at every level.
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Ode to Joy
Joy is the goal of Parsons Dance. That is immediately apparent from the opening of the program for its New York season at the Joyce Theater: “Ludwig,” a brand-new David Parsons original, features all nine company dancers, smiling and dressed in varying shades of sunset oranges and yellows, moving vigorously to the second movement of Beethoven’s ninth symphony.
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Haunted House
Cathy Weis’ SoHo loft is haunted. This is not because of the skeleton that dangles on the wall, or the iron hand that floats ominously above the piano. 537 Broadway—or Weis Acres, as the multi-media artist Weis dubs it—is enchanted by spirits of artists and eccentrics past.
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Be Like Water
Success, as so many artists know, can be a devilishly mixed blessing. On the San Francisco Bay Area’s aerial dance scene, which counts site-specific innovators Joanna Haigood and Jo Kreiter among its many notables, the company formerly known as Project Bandaloop has long attracted national attention for dances that scale Seattle’s Space Needle, or rappel down a 2500-foot-high rock face in Yosemite.
Continue ReadingChoreographic Collage
Oliver Savariego presents a collage of parts still moving, and perhaps ever destined to always be so, in a new solo work-in-progress, “Slapdash,” at the conclusion of his Front Studio...
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Human Touch
I was first introduced to the work of Margot Gelber when she submitted a film she choreographed and directed to Dare to Dance in Public Film Festival (D2D), the LA based, international Dance Film Festival that I founded.
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Breaking the Bank
Every year since 1881 in the forests of northern California, a secretive club of male elites in the world of politics, finance, and culture gather to burn an effigy in front of a giant statue of an owl in order to leave behind the worries of the past.
Continue Reading
Into the Spirit World
Men: You can’t live with ‘em, and you can’t let ‘em die! Seriously, “Giselle,” the über-Romantic dance that premiered in Paris in 1841 and was the peak of the pre-Tchaikovsky ballets (before, for example, “Swan Lake”), was first presented by Los Angeles Ballet in its fifth season.
Continue Reading
Stepping Out of the Ring
What gives a dance staying power? What makes any work of art continue to be relevant over time? These are questions I pondered while revisiting Andrea Miller’s “Blush,” performed by her company, Gallim, at 92NY’s Harkness Mainstage Series this spring.
Continue ReadingRaymonda Revival
Asami Maki’s 2004 reworking of Marius Pepita’s “Raymonda” for the National Ballet of Japan dials up the wow-factor at every level.
Performance
Place
Words
From the Streets to a World Stage
You can hear it before you see it. The sound of chatter, sneakers squeaking against the floor, the booming DJs reverberating through space.
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Gala Style
The New York City Ballet’s orchestra tackled two new pieces at this year’s Spring Gala: Edouard Lalo’s “Symphonie Espagnole,” with the star violinist Hilary Hahn debuting alongside them in the pit—her first time ever performing while submerged in subterranean darkness—and the Rolling Stones’ “Satisfaction.”
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Daughters of the Evening
In October 1942, within four days of one another, two Douglas Dunns entered the world—one in Scotland, one in California.
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Numbers Game
Almost mirroring the geopolitical situation, contemporary dance in the West—already in the USA and soon in Europe—is showing signs of wear and tear, if not decline.
Continue ReadingRomeo Revealed
Rudolf Nureyev’s “Romeo and Juliet” is built with a finely calibrated balance of choreographic structure, theatrical intelligence, and historical awareness.
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Pretty as a Picaresque
“Too much sanity may be madness!” Carlos Acosta’s “Don Quixote” revival is proudly, fittingly quixotic—a confetti cannon of cheerful characterisations and vibrant visuals that culminate in an actual confetti cannon.
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Breaking Bread
As a journalist and critic, I am often privy to an artist’s process before viewing their work. This insight pays off as an audience member, offering new ways of allowing a piece to come to life before my eyes.
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An Original Giselle
We ballet fans grow irrationally attached to the productions of the classics we grow up with—taking in a different “Swan Lake” or “Giselle” from the one we know can make us feel like sensitive children refusing to eat the non-Kraft-brand mac ‘n cheese.
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Sculptural Lines
The idea of bringing together the Louvre’s Michel-Ange / Rodin. Corps vivants exhibition, on view from mid-April to late July, and an evening of pas de deux danced by Paris Opéra Ballet soloists is so wonderfully potpourri-like that it invites reflection even where reflection may not have been the point.
Continue ReadingNew Frontiers
Crystal Pite, Medhi Walerski and Johan Inger belong to a shared artistic milieu, and each has cultivated a significant relationship with Ballet British Columbia, directed by Walerski himself since 2020.
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