Hot off the presses, San Francisco Ballet 2016 season announcement includes two world premieres, three full-length revivals and numerous bold-face names, including Forsythe, Ratmansky and Wheeldon...
Tag - Mark Morris
It’s a truism that any startlingly new dance-maker without an early elite training will have based his (or her) choreography on their own physique...
When music, words and movement are combined, our minds are pulled in different directions.
New York City Center's Fall For Dance Festival opened its 11th season with a very fresh program...
We catch up with Septime Webre, choreographer and artistic director of Washington Ballet. So what makes him get up in the morning? Oksana Khadarina finds out...
As he has shown again and again, the choreographer Mark Morris has a way with Baroque music. He clearly adores it...
Great to see so many of San Francisco Ballet’s dancers enjoying themselves and enthusing their audience in a steamy summer evening in Paris.
Watching Rosas danst Rosas this weekend it was easy to understand why it still stands as a prime example of De Keersmaeker’s choreographic approach.
All up it's an entertaining and chic-looking take on Swan Lake, and one where you don't have to know the original to enjoy it. But I'm glad I have seen a pukka Swan Lake or three...
The choreographer Mark Morris has said that he decided he wanted to become a dancer when, as a kid, he saw a performance by the flamenco powerhouse José Greco.
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.
The company embraces the turn-of-the-20th-century Cecchetti Method, more concerned with anatomic integrity than with razzle-dazzle. Cecchetti’s motto is “purity of line, simplicity of style.” You get the idea.
So far this season I’ve seen three “traditional” Nutcrackers: Ratmansky’s version for American Ballet Theatre, Gelsey Kirkland’s, and the familiar and much-loved 1954 staging by George Balanchine for New York City Ballet. All three have their charms...
What made this Peter so right-feeling was that all elements of the show — storytelling, music, stage action — were so well integrated.
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...
In this programme we got some shiny new toys, maybe quirkier than we imagined, but some definitely to keep and treasure.
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...
The gulf between commercial dance – the kind one sees in TV ads, music videos, and on shows like So You Think You Can Dance – and theatrical dance is disconcerting....
Throughout the Bach Partita, Tharp’s movement is technical, precise, and highly articulated. As with Balanchine, the bodies are always distinct, framed in space.
It’s good to see the company perform Sylphides again after a hiatus of eight years. The style hasn’t eroded. ...The dancers believe in it.