★★★✰✰ This winter, New York is getting to see more Merce Cunningham than it has in years, thanks to visits from various European companies. It is a sad fact that Europe has always been more supportive of Cunningham than the choreographer’s own country.
★★★✰✰ Available Light is merciless, and in the best way…
★★★✰✰ The post-modernist Lucinda Childs is experiencing a bit of a comeback here in the US, after years of working abroad.
Fall For Dance Festival – Program 2: Richard Alston, Aszure Barton, Wendy Whelan, Edward Watson, Grupo Corpo – New York
★★★✰✰ One of this recurring festival’s strongest selling selling points is the serendipity of its pairings. You pay $15 and get a grab-bag of dance in return. You’re bound to like something.
Venice Biennale Danza 2016 – Part 2: Works by Borriello, Russo, Monga, Schenker, Hugonnet, Quesada, Linehan
From ★★★★’s to ★ Works by Adriana Borriello, Lara Russo, Camilla Monga, Gabriel Schenker, Yasmin Hugonnet, Albert Quesada and Daniel Linehan
Rambert’s repertoire, under Baldwin’s direction, continues to divert and instruct in its combination of classic revivals and bold commissions.
Fall For Dance Festival – Program 2: Lucinda Childs, Semperoper Ballett, Wang Ramirez, Alvin Ailey – New York
“AP15, an award-winning work choreographed and danced by urban dance collaborators Sebastien Ramirez and Honji Wang, brought the other “wow” factor to Program 2.”
Watching Rosas danst Rosas this weekend it was easy to understand why it still stands as a prime example of De Keersmaeker’s choreographic approach.
This programme might also be viewed as demonstrating a particular curve in the formal journey of contemporary dance, albeit one taken in reverse and with an interloper for the sake of contrast.
Gallery by Foteini Christofilopoulou…
All up it’s an entertaining and chic-looking take on Swan Lake, and one where you don’t have to know the original to enjoy it. But I’m glad I have seen a pukka Swan Lake or three…
Nothing says more about Rambert’s need for new premises than a sign taken down from one of the old studios: “Jumping is not allowed in this studio due to structural weakness”
The gulf between commercial dance – the kind one sees in TV ads, music videos, and on shows like So You Think You Can Dance – and theatrical dance is disconcerting….
This is the third mounting of the work since its première in 1976 at the Avignon Festival, where it quickly became the stuff of legend. What was this strange, endlessly-repetitive, oddly compelling work?
Once in a while we experience one of those serendipitous evenings in which we show up with few expectations, only to encounter an oasis of structure, understated virtuosity and, best of all, musical intelligence.