★★★✰✰ The post-modernist Lucinda Childs is experiencing a bit of a comeback here in the US, after years of working abroad.
Author - Marina Harss
Marina Harss is a free-lance dance writer and translator in New York. Her dance writing has appeared in the New Yorker, The Nation, Playbill, The Faster Times, DanceView, The Forward, Pointe, and Ballet Review. Her translations, which include Irène Némirovsky’s “The Mirador,” Dino Buzzati’s “Poem Strip,” and Pasolini’s “Stories from the City of God” have been published by FSG, Other Press, and New York Review Books. You can check her updates on Twitter at: @MarinaHarss
★★★★★ Do yourself a favor – go.
★★★✰✰ 'Dora: Tramontane' is a powerful and elegant piece of theatre... What it isn’t, is a particularly engrossing piece of dance theatre.
★★★★✰ After watching two of the four programs, a few things stand out. Firstly, it is clear that this is no simple gala, despite the format; there is a strong personal esthetic and philosophy at work behind the programs.
★★★★✰ This year’s White Light Festival, at Lincoln Center, has spawned a mini-festival of its own, Sounds of India, curated by the modern-dance choreographer Mark Morris. Why Morris? Because he has been going to India since the eighties...
★★★★✰ Jessica Lang's Her Notes is a lovely and poetic work, though one with a slightly subdued effect. It is almost too tasteful.
★★★★✰ A second look at Alexei Ratmansky’s Serenade after Plato’s Symposium confirms the impression formed last season. It is a fascinating work that represents a new direction for the choreographer.
★★✰✰✰ The effect of Shen’s “Neither,” like that of the original opera, is decidedly muted.
★★★★✰ Structure and meaning lie at the heart of O’Connor’s work. With Undersweet he has achieved a perfect balance.
★★★✰✰ 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.
★★★★✰ Divertimento’s aura still shines; you want to see it again, to figure out its fluid, almost magical transitions. It’s a shame it will only be performed four times this season; it takes more than that for the audience, and the dancers, to really get to know it.
★★★✰✰ The pattern is set: the company commissions works from three or four choreographers, often quite young, and pairs them with prominent designers. The works are short, and are introduced by filmlets...
★★✰✰✰ So bravo for Danilian. All the dancing at the gala was very fine – who could expect any less from these dancers? One can (and should) question his taste but it’s clear that he’s willing to go out on a limb...
★★★✰✰ The bending of gender stereotypes seems to be a trend in Indian dance right now, and an interesting one...
★★★✰✰ The Sarasota dancers, who do so much Ashton, truly understand the style. As the evening progresses, one feels it more and more.
L.A. Dance Project Harbor Me, Marth Graham duets (White, Star, Moon), Helix, On the Other Side ★★★✰✰ New York, Joyce Theater 27 July 2016 www.ladanceproject.com www.joyce.org LA Story Since his quick exit from the Paris Opera Ballet, the choreographer and former director Benjamin Millepied has recommitted himself to the small Los-Angeles-based company he founded in 2012, L.A. Dance Project. The...
★★★✰✰ Twyla Tharp is a kind of dance wizard – steps pour out of her like torrents in a waterfall.
★★★★✰ This is a production that lives and breathes, and which rewards multiple viewings, changing subtly with each cast.
★★★★✰ One can only imagine the satisfaction of dancing such a role at the age of 53, to a full house, among friends. The ovations were rapturous and went on for a long time.
★★★✰✰ It’s a truism that any afternoon that includes Alvin Ailey’s Revelations is apt to leave you happy.





