Dance for Parkinson’s and English National Ballet
Last month English National Ballet and Roehampton University held an event at London’s Sadler’s Wells to talk about their joint work on helping those with Parkinson’s disease: “Dance for Parkinson’s Evidence of Impact – Moving Forward”. Jann Parry reports for DanceTabs…
Dance Heginbotham – Angel’s Share, Diamond, Easy Win – New York
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…
Mark Morris Dance Group – Pacific, Words, Whelm, Grand Duo, Crosswalk, Jenn and Spencer, and Spring, Spring, Spring – New York
Morris seems particularly interested in deploying turning and spinning movements these days; turns appear again and again in different forms in many of the new works, especially fast chaînés or dizzying rotations in one spot.
Joffrey Ballet – Incantations, Son of Chamber Symphony, Bells, Episode 31 – San Francisco
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…
Fall For Dance Festival – Program 1: Black Grace, SF Ballet, Russell Maliphant, Mark Morris – New York
New York City Center’s Fall For Dance Festival opened its 11th season with a very fresh program…
Mark Morris Dance Group – Acis and Galatea – New York
As he has shown again and again, the choreographer Mark Morris has a way with Baroque music. He clearly adores it…
Mark Morris Dance Group – Italian Concerto, A Wooden Tree, Jenn and Spencer, Crosswalk – Washington
The evening offered a sampler of Morris’s newly-minted works (A Wooden Tree, Jenn and Spencer and Crosswalk, all made in 2012-13) and his splendid Italian Concerto from 2007.
2013 Dance Memories – London
Lynette Halewood with her personal selection of London dance memories this last year…
Mark Morris Dance Group – Programme A: The Muir, Crosswalk, Socrates – London
Who knew that Beethoven composed his own cover version of ‘Sally in our Alley’? Mark Morris, obviously: the (English) song is the centrepiece of The Muir…
Mark Morris Dance Group – Programme B: Excursions, A Wooden Tree, Jenn and Spencer, Festival Dance – London
In this programme we got some shiny new toys, maybe quirkier than we imagined, but some definitely to keep and treasure.
Mark Morris Dance Group – L’Allegro, il Penseroso ed il Moderato – New York
L’Allegro, with its painterly tableaux, classical references, and unselfconscious evocations of sex and death, feels both ancient – almost pagan – and perfectly of our time…
John Heginbotham – choreographer, performer and director of Dance Heginbotham
Dance Heginbotham premieres a new full evening work, Dark Theater, later this month at the Brooklyn Academy of Music – Marina Harss talks to choreographer John Heginbotham about his latest work…
Mark Morris Dance Group at the Ojai Music Festival – California
The festival elects a guest director each year; Morris is the first choreographer to get the job. The seemingly ubiquitous Morris has now taken to calling the current season “my festival”; he’s only half kidding…
Mark Morris Dance Group – The Hard Nut – San Francisco
I always enjoy The Hard Nut even though there isn’t a lot of choreography.
Mark Morris Dance Group — Canonic ¾ Studies, A Wooden Tree, Silhouettes, Grand Duo — Sarasota
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.
Mark Morris Dance Group – Dido and Aeneas – New York
It is something of a cliché to say it, but the guiding principle of Morris’s Dido – as in the more recent Socrates – is simplicity. No single element – musc, words, dance – is privileged above the others.
Mark Morris – in L’Allegro, Il Penseroso ed Il Moderato – Washington
It’s hard to top Morris’s dancers for spontaneity, dramatic force, and exhilarating energy. On opening night, the dancing was nothing less than brilliant: From the opening “Mad Crossing” to the concluding “Finale,” the cast commanded the stage, dancing with sheer joy and élan, compelling the audience at the end of the performance into a thunderous standing ovation.
