Balanchine famously said in reference to 'Jewels,' his full-length 1967 jewel-themed ballet: 'I have always liked jewels. After all, I am an Oriental, from Georgia and the Caucasus, and a Russian. I would cover myself with jewels...The ballet had nothing to do with jewels. The dancers are just dressed like jewels.'BWW Dance Review: Mark Morris Dance Group and Music Ensemble, April 6, 2018 May 10, 2018
As part of the Paul Taylor American Modern Dance annual residency at Lincoln Center Koch Theater, Taylor has introduced 'Dances of Isadora,' staged by Lori Belilove, founder and Artistic Director of the Isadora Duncan Dance Foundation and Company, and danced by Sara Mearns, the estimable New York City Ballet ballerina.BWW Dance Review: Anna Sokolow March 18, 2018
All the other works on the program were by Anna Sokolow in different periods of her choreographic and teaching careers. Some had direct themes, which surprised me since I did not do any in-depth research before the performance. I preferred if the works spoke to me directly, as I had never seen any of them before in my dance going career.BWW Dance Review: The New York City Ballet, February 25, 2018 March 5, 2018
The New York City Ballet, or the House of George Balanchine as some refer to it, is presenting a number of Balanchineless performances. This is as it should be. Balanchine has been dead for over thirty years, and we could not possibly expect revival after revival. However, we can expect a high level of competence and artistry in the new ballets now being offered. Sunday, February 25, 2018, was another example of top notch dancing, if less than stellar choreography. February 12, 2018
Juilliard Dance Division need not worry about future applicants. Judging by the sheer amount of talent exhibited by the graduating classes of 2021, 2020, 2019, and 2018 on stage, there could very well be an artistic explosion coming our way in the dance world. Talent. Is it a God given? Is it something studied? Or taught? I suppose we could discuss these for ages, but one thing is clear: the abundance of talent in the dance world is beyond comprehension. You can criticize the choreography, but the dancers themselves-no. How do you put all this into words? Maybe, WOW!! I know that it's not high toned, but what the hell else do you say?BWW Dance Interview: Stefanie Nelson - Artistic Director December 8, 2017
Stefanie Nelson is the Artistic Director of Stefanie Nelson Dancegroup, a New York City-based contemporary performance ensemble. Her work distills deeply personal ideas into highly kinetic, expressive, and provocative works that are rooted in cross-media collaboration with artists working in music, video, and visual arts. Described as 'instinctual, untamed, and edgy,' Nelson's dances have been presented at some of the foremost contemporary performance venues in the United States, including Joyce SoHo, Dance Theater Workshop, LaMama Moves!, Lincoln Center Out-of-Doors, and Jacob's Pillow, and internationally in Canada, Mexico, and Italy, among others. Nelson is an accomplished teacher as well as the founder and artistic director of DANCE ITALIA, an annual summer dance intensive held in the cities of Agropoli and Lucca, Italy. She recently served as a Choreography panelist for New York Foundation for the Arts Artists' Fellowships and curated a series How high is the ceiling in my glass castle? (and other perceived limitations) at Triskelion Arts in Brooklyn. www.sndancegroup.orgBWW Review: Hofesh Shechter's GRAND FINALE at BAM November 18, 2017
Hofesh Shechter must be one angry choreographer, judging by his 'Grand Finale,' which I saw on November 10, 2017 at BAM. He gets right up in your face, so the loudness and grimness of the whole thing didn't surprise me-rather it just reiterated everything I've felt before when viewing one of his productions. I can't speak for anyone else, and, judging by the audience response at the end-whoops, screams, standing ovation-I am probably in the minority. What was a 2+ hour presentation with intermission could have been whittled down to 35 minutes. If there was ever too much of anything, this was definitely it.BWW Review: Dresden Semperoper Ballett, November 3, 2017 November 11, 2017
With this in mind, I approached Jessica Lang's production with trepidation, a lot of it I might add: Was this going to be overbearing, over the top precious, continually weepy or just plain meaningless?