★★✰✰✰ Slated as a “rock opera style production” created in the late David Bowie’s honour, Star Dust is a lengthy, razzle dazzle suite of dances set to Bowie’s most popular tunes.
Tag - Arvo Part
★★★✰✰ Every gala needs a revelation, and this one was provided by Sergio Bernal, a Spanish dancer who dominated the stage in an imperious farruca solo from Antonio’s flamenco version of The Three Cornered Hat...
★★★✰✰ The first of two mixed programs that New York City Ballet presented at the Kennedy Center Opera House in March offered a wide variety of works...
★★★✰✰ Wheeldon’s talents are on display, as well as the Royal Ballet’s dancers. A pity, then, that Strapless has been exposed without previews to sort out its weaknesses.
Heginbotham has a knack for choosing just the right music for his dances, none of it hackneyed or used solely for its atmospheric qualities: no Arvo Pärt, no Philip Glass...
In this revival of Wayne McGregor’s Raven Girl, Watson becomes something more than a postman...
Chamber Dance Project is essentially what it says on the tin: a small dance troupe which performs to live chamber music.
Harris’s Exodus, on the other hand, felt just right. Like so many pieces in the Ailey repertory, it suggests a spiritual quest, a journey toward the light...
The second night... this was by far the best program I’ve ever seen Ailey offer: five pieces, each as good as the others in its different way...
Karole Armitage is in a groove, and it's environmental. On the Nature of Things, presented at the American Museum of Natural History, is her latest in a string of works addressing the all too rapid ecological devastation humans are wreaking on the planet.
It's not often these days you get a bill that couples a brand-new piece by Christopher Bruce with something by Darshan Singh Bhuller. Sadly neither of these choreographic heavyweights has been as active in UK dance as they were formerly and this program reminds us of what we have been missing.
Batley's Dracula is a towering presence, subtly portraying the torment between evil and desire; the seducer and the seduced.
In the end, the real pleasure of the evening is watching two extraordinary showmen...
In the Royal Ballet's last programme for this season two old favourites frame the first performances of Alastair Marriott's latest work, Connectome. It's a well-balanced evening and gives the new piece every chance to shine.
The task Johnson faces is complicated, full of potential pit-falls. In these early seasons she is working to define the company’s character, while helping the dancers to hone their classical training and shine as individuals.
No sets – just glorious lighting designs playing essential roles in the performances.
There were wonderful performances by Ekaterina Borchenko and Leonid Sarafanov – dancers you would like to see a lot more of. But three works by the same choreographer was too much of the same dish on the menu.
Even more than with other choreographers, the costumes and sets are essential elements of Graham’s dance imagination. Think of Martha’s stretchy sack-dress in Lamentation, or the prickly metal tree-dress by Noguchi in Cave of the Heart. They are extensions of the dancers’ bodies, and of Graham’s Jungian world-view.
Sitting through both a matinée and an evening performance of the 14th Annual San Francisco International Hip Hop DanceFest on November 18th is the perfect antidote to the memorial service I attended the day before. Both celebrate life...
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.