Underpinning all of these familiar devices is the remarkable, intoxicating charisma of this extended family of performers, many of whom have been with the company for 30+ years. They continue to represent, with a comfortable faultless ease, Bausch’s unique cultural legacy...
Reviews of Dance and Ballet Performances
If you refrain from reading any advance publicity or the program itself before you see this piece, then you will probably enjoy yourself and laugh very hard. But if you know ahead of time what he claims are his artistic goals for the production, by the end you may be... disappointed, bewildered, incredulous, perplexed, even irritated.
How can a company make good impression with just a few performances of one or two programs? The pieces have to be representative, interesting, and show the company in a the best possible light. It’s not easy, as the recent Lincoln Center performances of Australian Ballet have shown.
The Bolshoi's new Coppelia was heavenly fun. Vikharev’s production brought to the fore the Russian ballet tradition of expressive pantomime and spirited ensemble dances.
Sometimes the second time is the charm. This seems to be especially true when it comes to new ballets by Alexei Ratmansky. Often, they’re not easy to take in on first viewing, indigestible as an over-rich meal. But then, something in us changes, our eye evolves.
In a world where choreographers with their own eponymous companies prevail, I am happy to see that Moses sees the value of feeding his dancers a diverse diet of artistic experiences, definitely a situation where everyone wins, audience included.
I have had some of the best dreams ever while wide awake and watching Tanztheater Wuppertal Pina Bausch. The company conjures imagery that no conscious mind seems capable of assembling.
In the second act, storytelling gives way to pure dance, the highpoint of which is one of the most delicate, poetic pas de deux ever made - an allegory of love, danced by an unidentified couple. It is a Balanchinean vision of absolute trust and partnership...
With every Bausch work some of the images and sketches stick in the mind and linger as the particular flavour of the piece, and these will vary for every audience member. For me, it was how tough it is being a woman in Nur Du.
...the 30-strong company, which has one of the widest ranges in dancer age I've seen, is sensational to watch... For these cameos, and others, I'm glad I caught up with Viktor, but once is enough for a good while.
And yet, even on its own terms, it leaves one wanting, despite the performances of two excellent casts... And it does not blossom with repeated viewing. Much to the contrary. What are its short-comings? First, the music...
Barry Wordsworth conducted the trimmed and re-ordered score as though it were great ballet music. If only.
This is a show that you can bitch about at length - so much seems wrong. And yet I came out without a long face and was rather thrilled to have been part of a very different audience, many high as kites, screaming at every opportunity...
My goodness what a fabulously surreal and wonderful night Made in Heaven proved. Like a vivid dream you recall snatches of a mad roller-coaster ride where the whole is totally unfathomable as any kind of coherent story or message about life, the universe, or anything...
I have a feeling that there may be a musical in here good enough to match the strength of the comedy and set design; if the level of the bar of song and dance can be raised to make a better impact against this over-bearing story.
Soulier has created two thoughtful and captivating dance works from the ingenious simplicity of systematically cataloguing the building blocks of ballet and then having some deconstructive fun by shifting these basic elements around.
La Tania is the only flamenco dancer I have seen that effects me as intensely as does the brilliant Eva Yerbabuena. Ultimately, the most important point, as with any art form, is whether you are moved. And I am, very deeply, by this truly gifted performer.
The dancers of Danza Contemporánea de Cuba are a fabulously talented bunch and it’s a pleasure to see them back at Sadler’s Wells. It would be even more of a pleasure if all the choreography in their programme was the same quality as the dancing.
For the twenty years his company has been around, Wells's choreography has incorporated contact-improvisation, sports paraphernalia (balls of every size from ping pong to basketball, boxing gloves, skateboards), music from classical to rock, often in rapid succession, juggling and gymnastics.
Every May for the past nine years the SFIAF presented an amazing array of live music, theater and dance from all over the world. Most of these performers would never be seen here in San Francisco if it weren’t for festival director Andrew Wood’s fanatic desire to bring as many diverse groups as the limited budget will allow.