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Paul Taylor Dance Company

Shining Lights

"Arden Court", "Banquet of Vultures", "Promethean Fire"
Paul Taylor Dance Company
David H. Koch Theater
Lincoln Center
New York, New York
March 6, 2018

The three dances performed on the Paul Taylor Dance Company's opening night, which thanks to $5 tickets and an outstanding program, was packed, had various views of light. "Arden Court", from 1981, showed Taylor at his sunniest, "Banquet of Vultures" (2006) with its candles piercing the darkness, shown a clear and uncompromising light on despair,

When Worlds Collide

"A Few Worlds"
Nancy Havlik's Dance Performance Group
Dance Place
Washington, DC
March 3, 2018

As an anthology of performance, “A Few Worlds” encompassed a diversity of works from Nancy Havlik’s Performance Dance Group. These pieces, while introducing a variety of movement quality, subject matter, and auditory accompaniment, were all thoroughly enriched by assorted approaches to artistic collaboration. The evening celebrated the intricacies of dance and human interaction, and included video projection, spoken poetry, and multiple live

Heart and Brain on Same Wavelength

"Speaking Ill of the Dead" "Trapdoors/Trickbags/Painted Corners (Excerpt),
"Lucifer's Prance" "Bootstrap Tales"
Robert Moses' Kin
Yerba Buena Center for the Arts
San Francisco, CA
February 25, 2018

During the twenty-three years of creating for his Robert Moses’ Kin company, the former Twyla Tharp/ODC Dance ensemble member has embedded formally demanding works into contexts that might range from fairy tales to American and African American history, families of whatever denomination, world peace to the horrors

San Francisco Ballet

Revisiting a home-made Trio

"On a Theme of Paganini" "Ibsen's House" "Ghost in the Machine"
San Francisco Ballet
War Memorial Opera House
San Francisco, CA
February 15, 2018

Helgi Tomasson has an astute sense for programming. After an evening of works that were brought in, he followed it with pieces created in-house: “On a Theme of Paganini” (Tomasson), “Ibsen’s House (Val Caniparoli) and “Ghost in the Machine” (Myles Thatcher). The first two were created in 2008; corps member Thatcher’s first

New York City Ballet

Star-cross'd

"Romeo + Juliet"
New York City Ballet
David H. Koch Theater
New York, New York
February 21, 2018.

Like Tchaikovsky's final act music for "Swan Lake" Prokofiev's score for "Romeo and Juliet" has protected a number of choreographers by providing a rich emotional resonance no matter how lame the choreography. Fortunately for Peter Martins' "Romeo + Juliet" the balcony scene and suicide music always wraps the audience around the drama and his ballet, despite its repetitive, hyperactive steps and bizarre

Revisiting a Familiar Tale

“Romeo & Juliet”
The Washington Ballet
Opera House
The John F. Kennedy Center for the Performing Arts
Washington, D.C.
February 17, 2018

John Cranko’s “Romeo & Juliet” performed by the Washington Ballet this past Saturday, like all performances based upon these two star-crossed lovers, was marinated in dramatic irony. Most, if not all, audience members knew the fate of the gentle Juliet and her fair Romeo, yet despite this certainty, the anticipation of the afternoon performance was

San Francisco Ballet

Reflecting Language

"Serenade," "The Chairman Dances-Quartet For Two," "Rodeo: Four Dance Episodes"
San Francisco Ballet
San Francisco War Memorial Opera House
San Francisco, CA
February 13, 2018

The first of this season’s repertory programs was called “Bright Fast Cool Blue”. You probably could find at least one of these qualities in the magnificently performed “Serenade”, “The Chairman Dances — Quartet for Two” and “Rodeo: Four Dance Episodes.” George Balanchine’s name only appeared in his early masterpiece but his spirit hovered

Love's Labor Gained

"Dance Lovers 7"
James Graham Dance Theatre
Counterpulse Theater
San Francisco, CA
February 8, 2018

Watching two dancers work out a relationship on stage – whether romantic, exploratory, contentious or distanced — can raise the question about how they might interact when the curtain comes down. Is this relevant in terms of what we just saw? Perhaps not, but we do know that behind these masks are human beings with private lives that may or may not enter their professional endeavors. James

New York City Ballet

An Uninspired "Romeo + Juliet"

“Romeo + Juliet”
New York City Ballet
David H. Koch Theater
New York, New York
February 13, 2018

Peter Martins’ version of “Romeo and Juliet,” which premiered in 2007, was never an inspired production. Titling the work “Romeo + Juliet,” Martins went on to whittle down the narrative to two compressed acts, never worrying much about logic, let alone nuance. But that is all water under the bridge. As most of the dance world knows, Martins, heretofore ballet master in chief of

Miami City Ballet’s Program III – A Taste of the Future

“Theme and Variations,” “One Line Drawn” and “The Concert”
Miami City Ballet
Adrienne Arsht Center for the Performing Arts
Miami, Florida
February 9, 2018

On Friday, Miami City Ballet artistic director Lourdes Lopez first addressed the audience and expressed her commitment to keeping ballet relevant. Referring to that night’s world premiere by post-modern choreographer Brian Brooks, Lopez added that with Program III, “we have the future sandwiched between two masters of the past.”

The evening opened to a

New York City Ballet

Second Week, Second Casts : Balanchine at NYCB

“Divertimento No. 15,” “The Four Temperaments,” “Chaconne”
New York City Ballet
The David H. Koch Theater
New York, New York
January 30, 2018

The winter 2018 season of the New York City ballet opened with two all-Balanchine programs back to back. During that first week the air in the Koch Theater was suffused with a combination of relief and jubilation. The company was back, having lived through the retirement of Peter Martins, its longest serving artistic director, and Balanchine

American Ballet Theatre

Strauss's Forgotten Treasure

“Whipped Cream”
American Ballet Theatre
Opera House
The John F. Kennedy Center for the Performing Arts
Washington, D.C.
February 1, 2018

Alexei Ratmansky's “Whipped Cream” stirred up a concoction of whimsy and merriment that lifted the mood and lightened the spirit of balletgoers on Thursday. The production’s fast-paced frenzy of activity was both delightful and dizzying. Danced assuredly by a stellar cast, this ballet is less a showcase for the dancers than a platform for Mark

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