★★★★✰ The long gala (three and a half hours with one interval) was well organised, with no speeches and no protracted curtain calls.
Tag - Joffrey Ballet
Annabelle Lopez Ochoa, the award winning choreographer, chats with Diane Parkes about working with Danza Contemporánea de Cuba. The 'high powered' and much admired company are about to tour the UK with one of her works and we wanted to know more...
Jeremy McQueen’s dance company, Black Iris Project, have their debut season at New York Live Arts this week - 27 & 28 July. Shanti Crawford spoke with the emerging choreographer about his new company, what drives them and the NY Live Arts bill.
★★★✰✰ With this first season, Sofranko has proved himself a good curator of choreographic and dance talent, with a preference for loveliness in movement and movers.
★★★✰✰ It wouldn’t be spring without ballet galas. This week it was New York City Ballet’s turn. On the program were two new works, by Christopher Wheeldon and the relatively unknown Nicolas Blanc, the latter a veteran of the New York Choreographic Institute.
One of the go-to international choreographers, particularly if you want something arresting and unusual, is Alexander Ekman. His "Cacti", appropriately featuring a stage full of Cacti, is about to be presented by Royal New Zealand Ballet and Sydney Dance Company - Valerie Lawson catches up with a dance maverick...
Brooklyn Mack dances with Washington Ballet but has recently been wowing British audiences with English National Ballet in their wonderful "Le Corsaire". Margaret Willis, much impressed, caught up with him for a chat...
As always, it's a pleasure to see the Joffrey Ballet, especially since 2007 when artistic director Ashley Wheater assumed his post and began a terrific revival of the company...
On the 13 December 2014, as the Millions March protest - on the shooting of unarmed African-American men by police - was happening in NY, Shanti Crawford was at City Center seeing Alvin Ailey perform Hofesh Shechter's Uprising. It really hit home...
In all, this was a tremendously entertaining and well-received program; but at the same time it left an unsettling impression that the Russian company is holding on to its eminent past with all its might, relying heavily on well-worn
Born in Paris in 1958, Isabelle Fokine is the daughter of Vitale Fokine and granddaughter of choreographer Mikhail Fokine. She is artistic director of the Fokine Estate Archive, which holds the worldwide copyright to his work.
To fully enjoy Ashton, one has to be willing to acquiesce to one’s own softer impulses, a sense of wonder and perhaps a little nostalgia, and to surrender the loveliness of small things.
JLD is a relatively young troupe, but it consists of nine experienced and established dancers, some of them well-known and admired in Washington. Take for example, Clifton Brown...
This was an evening not to be missed. Newly appointed Artistic Director, José Manuel Carreño, made sure that the quality of the eighteen guest artists for Ballet San Jose’s Gala Performance would tantalise even the most skeptical dance fan.
Earlier this month Smuin Ballet danced their XXtremes bill in San Francisco with works by Amy Seiwert, Jiri Kylian and Michael Smuin. Aimée Tsao with thoughts on the bill and where the company might be heading...
Music is always my anchor. I can’t work without a very solid musical base. The lion’s share of the work I’ve made over the years has been music-led and the primary instigator in Subterrain is the Turnage music.
The Tribute bill is a well-chosen one... The season has been so short that the dancers haven’t had time to grow into their roles. They look as though they’re remembering instructions rather than relishing the ballets.
Nijinsky's 'Jeux', like 'Rite', is in its centenary year - lesser known it may be but Archer & Hodson give fascinating detail on its creation and the thought that went into putting on, at UNCSA, their reconstructed version earlier this year.
Closing the program is Kurt Jooss’s anti-war ballet from 1932,The Green Table, one of the greatest pieces of choreography ever created and still relevant after more than 80 years.
Perhaps the best pas de deux of the evening, judging by the audience reaction, is one from Christopher Wheeldon’s After the Rain.