The whole evening has the feeling of an extended experiment. We see Whelan ridding herself of ballerina habits and trying on new clothes.
Tag - Philip Glass
Woolf Works is a chimera, an illusory creation made up of disparate elements...
Margaret Willis has just been in St. Petersburg, catching up with the Dance Open Festival and also visiting the Vaganova Academy where she had some words with director Nikolai Tsiskaridze...
Natalia Osipova, Ivan Vasiliev, Edward Watson and Marcelo Gomes star in ARDANI 25 DANCE GALA Friday 17th and Saturday 18th July 2015, London Coliseum This summer’s hot dance ticket will be the ARDANI 25 DANCE GALA at the Coliseum on Friday 17th and Saturday 18th July, presented by producer and impresario Sergei Danilian (Ardani Artists). The evening features an all-star line-up including Natalia...
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.
The gala opened with the Act III wedding pas de deux from The Sleeping Beauty, performed by Ekaterina Osmolkina and Guiseppe Picone. No fish-dives in this version – the Russians regard them as vulgar, and Osmolkina could never be vulgar.
The most obvious, and pleasurable aspect of New York City Ballet's mixed bill Hear the Dance: America is its juxtaposition of two very different works by Jerome Robbins.
Ultimately, it mattered less what Whelan and her collaborators were doing, and more that they were doing.
I like McNally's sense of fun but I also like this more serious side because the movement is also fresh and unpredictable. Of all the ballet choreographers coming through I think hers is one of the most original voices.
It would be invidious to compare Wendy Whelan’s brave attempt to reinvent herself as a contemporary dancer with Sylvie Guillem’s far more mature achievement.
Great to see so many of San Francisco Ballet’s dancers enjoying themselves and enthusing their audience in a steamy summer evening in Paris.
Audience applause during the evening recognised that Scarlett’s Hummingbird was the starry centrepiece of the three Paris premieres.
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.
If you are keen on seeing new work, this is an attractive package of five varied pieces which is very well presented.
Eclectic, fascinating choreography is danced with precision and passion by this fine-tuned company...
Of all the school shows I most appreciate the one by Central School of Ballet. Their show, under the name Ballet Central, invariably has the widest range of dance, from ballet to contemporary to musical theatre and more. And importantly they tour it...
Two young NYCB choreographers have been out talking and showing what they do: Justin Peck at the Guggenheim and Troy Schumacher at the 92nd Street Y. Marina Harss on why they are so worth tracking...
The Royal Ballet’s autumn season triple bill offered very different ways of presenting bodies in space: anatomical studies in an architectural limbo (Chroma); flying figures in constant flux (The Human Seasons); a tribal community following ritual patterns (The Rite of Spring).
Dekkers has some interesting ideas for collaborations with composers, visual artists and set designers, which sound good in the program notes but, at best, they remain embryonic on stage.
As the soundtrack cried “Baby, Baby, Baby,” the impressively talented DToH dancers whipped the audience into a frenzy.