★★★★✰ This year is Twyla Tharp’s 80th birthday, so to celebrate, she decided to offer a concert and invite some of the country’s starriest dancers to join her...
Tag - Santo Loquasto
★★★★✰ Thirty years after its creation, In the Upper Room is still the ultimate Twyla Tharp piece, an expression of American dynamism and New York style.
★★★★✰ I can’t recall ever leaving a theater after seeing a Trey McIntyre work, and not feeling better about things.
★★★★✰ Roberts’ "Members Don’t Get Weary" is very much a mature work with a strong emotional charge and esthetic signature.
★★✰✰✰ It all sounds terribly promising, and yet the evening falls as flat as a soufflé left in the oven for too long.
★★★★✰ Created in 2010 for the National Ballet of Canada, this production of the late John Cranko’s 1965 ballet was a smash here in 2012; it was reprised in 2013 and it’s wonderful to have it back again so soon.
★★★✰✰ "But despite his high concept, Scarlett seemed to lose the thread halfway through, resorting to lascivious theatrics to complete the work..."
...one can’t help but admire the torrent of ideas bouncing around Tharp’s brain...
The Paul Taylor Dance Company, rechristened Paul Taylor’s American Modern Dance, is in the midst of its yearly three-week New York run at the Koch Theater. This is a pivotal time for the company...
More from the NYCB Winter Season with Marina Harss reviewing 2 bills made up of 6 works: Concerto Barocco, The Goldberg Variations, Symphonic Dances, The Cage, Andantino and Cortege Hongrois...
Who but Frederick Ashton could turn a marital spat into one of the most delightful, touching works in the ballet repertoire? His 1964 The Dream is precisely that...
Throughout the Bach Partita, Tharp’s movement is technical, precise, and highly articulated. As with Balanchine, the bodies are always distinct, framed in space.
Not the least of Taylor’s genius shows in his choice of dancers. All are superb performers who are also quite handsome to look at. If I were asked to populate an alien world from scratch, I’d begin with the Paul Taylor Dance Company.
Fashioning a ballet out of The Tempest is no small endeavor. How does one distill Shakespeare’s rather complex play into forty-six wordless minutes....
But stuck in the middle of all this brightness was Ivesiana, like a ghost at a birthday party. It is a most unsettling ballet.
Opening night was a gala performance; one might have expected Esplanade, or Arden Court, but that’s just not Taylor’s style. For a choreographer who has been criticized for being too popular in his tastes, Taylor can be very odd indeed.
The good news is that I had a very pleasant afternoon, mostly the result of the dancers actually having a splendid time on stage.
The highlight of the gala was the seventieth-anniversary performance of Agnes De Mille’s Rodeo, preceded by a short film describing its creation, with archival footage of the hilariously histrionic, diminutive choreographer.
And yet, even on its own terms, it leaves one wanting, despite the performances of two excellent casts... And it does not blossom with repeated viewing. Much to the contrary. What are its short-comings? First, the music...
With its new program titled Twyla Tharp: All American, the Washington Ballet paid homage to the high priestess of American dance...