At any dance performance I attend, whatever the style, musical accompaniment or scenic elements, I most closely observe how the choreographer is talking to me through movement. I don’t mean the dancers should literally speak up from the stage, with words. I mean the choices the choreographer makes with body placement and movement to communicate …
Continue reading February Digest: Caleb Teicher, Pam Tanowitz, SF Ballet, Blue13
I have been reviewing dance concerts for 37 years. It’s been such a privilege – as well as a responsibility -- to do this for a living. It has brought me great joy. But I’ve lately been craving a shakeup of my routine. I have been thinking about how to change the lens through which …
Continue reading Review: JA Collective, A.I.M. & Contra-Tiempo
“Matthew Bourne’s Swan Lake” is back for a month of performances at the Ahmanson Theatre, the site of its 1997 U.S. premiere and its follow-up engagement in 2006. This remarkable revision of the seminal 19th century ballet became a sensation on its first trip here from London. It was called the “gay Swan Lake,” because …
Continue reading Review: Matthew Bourne’s ‘Swan Lake,’ Again
The annual — sometimes biannual — performance by Raiford Rogers Modern Ballet has come to feel like a special L.A. summer tradition, akin to s’mores around a beach fire pit or music at the Hollywood Bowl amphitheater. This year, that single performance at the Luckman Fine Arts Complex at Cal State L.A. (thank you, Wendy …
The opening tableaux of “Pretty, Peculiar Things” is an announcement that Melissa Barak has good things in store. Unexpected things, like the backward toss of a ballerina. Subtle humor. And a lively stage atmosphere overflowing with a deep kinetic intelligence of what movement can express. Barak keeps it fresh. She’s a dance-maker’s dance-maker. Here’s the …
At age 81, Los Angeles’ modern dance pioneer Bella Lewitzky closed down her dance company. That was 22 years ago and her works have been revived only sporadically since then. A good portion of her repertory is in danger of being gone for good, which would be a terrible outcome. A few people, happily, have …
Mark Morris — that most-musical choreographer and sometimes-conductor, who was the 2013 director of the Ojai Music Festival — has shown little interest in setting his dances to rock ’n’ roll or other popular music. So “Pepperland,” seen this weekend at the Segerstrom Center, is an outlier. The piece was a commission, made for the …
