Hannah Land - Page 2

Diavolo: Architecture in Motion is an impressive display of athleticism, acrobatics, and grace. It would have been even better if the company allowed the dance to speak for itself.

The Alvin Ailey American Dance Theater began its weeklong stay in D.C. on Tuesday night with a beautiful gala night performance. If you have the opportunity to see this fantastic company, especially its signature piece Revelations, I highly urge you to do so.

The American Ballet Theatre's current program at the Kennedy Center, featuring works by Ratmansky, Robbins, Millepied, and Wheeldon (as well as the full-length Whipped Cream, not covered in this review), is extremely well done but a little uninspiring. It's hard to fault the fantastic ABT dancers, but I was merely appreciative, not enthralled, by most of the pieces on offer.

The Red Shoes is almost more big-budget Broadway musical than ballet. With a sweeping score, dramatic narrative, and lavish production values, Matthew Bourne's production does nothing by halves.

It's a real shame that you can't buy a ticket to a performance of Lotus, an exhilarating night of tap dancing and jazz excellence. That's because the performance was a one-night only, sold out performance full of incredible tap dance and music.

closer(group) is here to challenge how we view dance. This bold, immersive performance will make you rethink the relationship between dancers and audience members.

Catch The Cabinet of Dr. Caligari at Constellation Theatre before it closes. It's an excellent way to experience a classic and a wonderful way to spend a spooky, stormy evening.

The New York City Ballet's technique, grace, and variety of programming is impeccable. The night feels like a quick tour through the dance and music of the past 100 years, starting with the jazz of George Gershwin and ending with the frenetic electronica of Dan Deacon. There's something for everyone here, whether you prefer your ballet classical or contemporary.

Ballet is always beautiful, but too often it also feels inaccessible and outdated. With Ballet Across America, The Kennedy Center banishes these concerns with a program full of relevance and joy. Misty Copeland has brought together three diverse companies who differ in style but share an impressive level of talent and passion. The cumulative effect is a vivid reminder of how effecting ballet can be.

Theatre Prometheus's [gay] Cymbeline is a treat. The company presents one of Shakespeare's most complicated plays with panache, humor, and modern relevance.

Perisphere Theater's Copenhagen left me feeling uneasy. Maybe this was this was exactly what I should have been feeling; the script, examines the morality of two scientists who worked on the atomic bomb. But despite the strong performances, something is missing from this production.

Two masked figures stand over a man lying on the floor. As they begin to dance, the man is swept up into an otherworldly spectacle. Dancers in black capes create a stream of movement across the stage, ushering the outsider and the audience into the strange world of Tim Rushton's choreography.

Buried Cities is a promising, if uneven, new play that features both an unsubtle debate on guns and moments of magical allegory.

Billed as an Irish dance place, Out of Time, presented as a part of the Kennedy Center's Ireland 100 festival, is actually much more. Equal parts dance, modern music performance, and memoir, Colin Dunne's stunning solo performance is full of depth and intelligence.

There is little worse than a play that doesn't understand its purpose. They Don't Pay? We Won't Pay!, written by Dario Fo and produced by Ambassador Theater at the Mead Theatre Lab, cannot decide what it wants to be. Instead, the production vacillates between heavy-handed social commentary and overacted comedy. Despite a few strong performances, the production is weighed down by its cumbersome message and leaves the audience confused instead of inspired.

Theater Alliance's for colored girls who have considered suicide/when the rainbow is enuf and Word Becomes Flesh are both beautiful theatrical experiences; when presented together their power and resonance only magnifies.

Too Much Light Makes the Baby Go Blind at Woolly Mammoth: joyful, raw and revitalizing

Molotov Theatre Group's Lovecraft: Nightmare Suite is a piece of Halloween candy: sweetly frightening but not enough to fill you up.  The outline of the script and the excellent technical work promise captivating thrills which the performances never quite deliver.

Absurdist comedy and sparking physical comedy collide in Taffety Punk's Inheritance Canyone

Audience members looking for a tightly wound, complex ,and interesting thriller will be disappointed in The Letters at MetroStage