danceviewtimes
writers on dancing

Volume 5, Number 14 - April 9, 2007

this week's reviews

In Munich, a reconstructed "Le Corsaire" and a visit from the Kirov
by Marc Haegeman

Letter from London
Henri Oguike Dance Company, Richard Alston Dance Company

by John Percival

Jess Curtis/Gravity: "Under the Radar"
by Paul Parish

Ballet Memphis Does New York
by Susan Reiter

Letters and Commentary

Letter from Copenhagen
Nikolaj Hübbe to take over his parent company

by Eva Kistrup

San Francisco Letter 25
by Rita Felciano

Letter from Copenhagen
"American Mixture" program at the Royal Danish Ballet

by Eva Kistrup

San Francisco Letter No. 24:
San Francisco Ballet's Programs 4 and 5

by Rita Felciano

London Letter
Fabulous Beast and Australian Dance Theatre

from John Percival

San Francisco Letter 23
William Forsythe, Sydney Dance Company, Stephen Petronio

by Rita Felciano

San Francisco Letter 22
Reggie Wilson/Fist and Heel Performance Group
Black Choreographers Festival: Here and Now 2007
by Rita Felciano
by Rita Felciano

San Francisco Letter 21
San Francisco Ballet, Programs I and II
by Rita Felciano

did you miss any of these?

San Francisco Letter 25
by Rita Felciano

Letter from Copenhagen
Nikolaj Hübbe to take over his parent company

by Eva Kistrup

Yerevan and Vienna: Viewings
by George Jackson

Contrasts at the Washington Ballet
by Naima Prevots

Eliza Miller's "O Death"
by Susan Reiter

Special spaces
by George Jackson

Sweet Edward
Matthew Bourne's "Edward Scissorhands"

by Lisa Rinehart

Noh-Now in New York
Takeshi Kawamura’s Aoi/Komachi

by Tom Phillips

Letter from Copenhagen
"American Mixture" program at the Royal Danish Ballet

by Eva Kistrup

Taylor Company Ends Season
by Leigh Witchel

Waltzing to the Wells
Sasha Walz's "Dido and Aeneas"

by John Percival

Paul Taylor at City Center
by Leigh Witchel

Philippe Decouflé: not quite alone
by Susan Reiter

Royal Ballet Triple Bill
Bodies Passionate and Dead
by John Percival

Taylor Gala Has Highs and Lows
by Gay Morris

Forsythe's "Three Atmospheric Studies"
by Susan Reiter

English National Ballet
by John Percival

 



In Munich, a reconstructed "Le Corsaire" and a visit from the Kirov
by Marc Haegeman

Marius Petipa rules in Munich this first half of the year. The local company, the Bavarian State Ballet, programmes several of the choreographer’s full-length classics during the season and Russia’s Mariinsky and Bolshoi return to Munich for brief stints which further reveal the richness and value of Petipa’s inspiration. Central in this homage to the great French master is the new staging of “Le Corsaire” by the Bavarian State Ballet, premiered last January at the National Theatre in Munich and remaining on the programme until July. READ MORE


Letter from London
Henri Oguike Dance Company, Richard Alston Dance Company

by John Percival

Coming across my report on Henri Oguike's programme of a year ago, I see that I wasn't too keen on his group ballet “Tiger Dancing”, and watching it again on his '07 spring tour I found no reason to change my mind. But I was a little more impressed this time by his own solo “Expression Lines” (he gave up his active dancing career after an injury nine years ago and turned to choreography, but still makes a subdued appearance at almost every performance). And once again I found the rest of the show much more enjoyable, comprising two newly made works.READ MORE

Jess Curtis/Gravity: "Under the Radar"
by Paul Parish

Jess Curtis, who was one of the seminal post-modern dancers here in the 90's, has returned to San Francisco on a half-yearly basis after moving to Berlin and is bringing us periodically absolutely fascinating, and deeply refreshing, bursts of intelligence from those quarters. For a post-modernist, he's always had an old-fashioned respect for his audience. He was getting into circus before he left — he's always respected skill and the average intelligent person's appreciation of skill. READ MORE


Ballet Memphis Does New York
by Susan Reiter

Aside from a fleeting 2001 appearance on a shared program, Ballet Memphis had not been seen in New York City, so its week at the Joyce served as a proper, and quite well thought-out, introduction to this 20-year-old troupe. Founder/artistic director Dorothy Gunther Pugh not only brought two programs, but the entire repertory consisted of works made on the company. We saw dancers performing with bracing zest and flair in works that were fresh and inspired directly by their talents and personalities. READ MORE

 

©2003-2007 danceview