All up 'Labyrinth of Love' is a wonderful creative endeavour, a great looker, but an extra dash of audience accessibility is needed. We go "Wow", rather than "Wow, I really loved what that had to say"
Reviews
Reviews of Dance and Ballet Performances
...cut down to a single act and shown as part of a properly-balanced double or triple bill it could work beautifully, rather than sending me home feeling hungry.
What was curious about A Wooden Tree is that it did not include much dancing in the traditional sense. It was as if Morris had decided to do an experiment: to make a dance with as little dancing as possible, practically a pantomime.
Anyway I'd never dream of missing a BRB Lac and usually get up to Birmingham for a matinee - and this time luckily to see Celine Gittens debut as Odette/Odile. There was a lot of hubbub around the performance...
And in the next act she (Nunez) did just that, giving us one of the best Odiles I remember seeing. She looked as if bamboozling innocently trusting princes was her favourite thing in the world, the most fun she’d ever had...
I believe that the current dancers have greater technical proficiency and more years of stage experience than previous members , and with those elements, Ballet Master Amy London's avid quest toward perfection can finally be realised.
Alston is going to develop Isthmus, thank goodness, as soon as he has the opportunity – it’s a stunner.
There should be more nights like this at New York City Ballet.
Several times during the evening I wondered how much anyone who happened never to have seen Lund before would have understood about him from this performance. They would have learnt about his peerless Bournonville technique, and about his ability to get under the skin of the character he's playing...
Every Fall For Dance program is a bit of a pot luck, which is part of the festival’s charm. This year it has been expanded to twelve of performances (each costing $15, up from $10 last year)...
City Contemporary Dance Company’s Stripteaser 2012 offers four short works created by different choreographers, each working with – and supposedly drawing inspiration from - a local fashion designer.
There couldn’t have been a better setting for this Bermudian Romeo and Juliet. It was dramatically and effectively staged, using the different heights of the ramparts of Fort Hamilton overlooking the harbour with a natural backdrop of stars and crescent moon.
I’ve noticed two troubling trends this season at New York City Ballet. Perhaps they are connected. The first is the creeping tendency toward stolid tempi from the pit...
There is something deeply satisfying in watching a dance company grow from its first season through its current fifth year, especially when the production values remain consistently high.
Waltz is about big ideas in 'Continu' but if you don't pick up on them there is not a lot of choreography to keep you going.
The highlight of the program was the seldom-performed Divertimento from “Le Baiser de la Fée”. It is a deceptively shadowy work, a fairy tale in the guise of a conventional divertissement.
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?
Nothing in contemporary dance is more guaranteed to provoke controversy than the Place Prize, now returning for its fifth edition, organised by the excellent team at The Place...
Soledad Barrio makes every moment look improvised. You watch, you wait, and you hold your breath.
What is there to say about Orpheus, except that it seems to slip deeper into the recesses of time? I’ve read that at the première, the critic and poet Edwin Denby was so moved by it that he sat dumbfounded during intermission, unable to stand. It is difficult to imagine such a reaction today.