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writers on dancing

Volume 5, Number 15 - April 16, 2007

this week's reviews

San Francisco Letter 26
San Francisco Ballet: Programs 6 and 7

by Rita Felciano

John Jasperse at DTW
by Susan Reiter

Pitching Hay
by Ann Murphy

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

San Francisco Letter 21
San Francisco Ballet, Programs I and II

by Rita Felciano

did you miss any of these?

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

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

 

 



San Francisco Letter 26
San Francisco Ballet: Programs 6 and 7
by Rita Felciano

The two programs before San Francisco Ballet’s Season finale, “Don Quixote”, featured a world premiere each: Helgi Tomasson’s dry-as-bones “On Common Ground” and Matjash Mrozewski’s dexterous “Concordia.” Fortunately, Tomasson paired his problematic offspring with two charmers that more than earned their return, Julia Adam’s “Night”, her first SFB commission, and Agnes de Mille’s “Rodeo” — not quite as evergreen as it once was but still provides some jolly good entertainment.  READ MORE


John Jasperse at DTW
by Susan Reiter

The supporting player in “Becky, Jodi and John” was a tiny motorized remote-control cart that whizzed onstage to deliver a laptop and other necessary props. Somehow, the charm and sweet poignant of the hour-long work managed to affect even this inanimate object, which seemed to acquire its own adorable personality. Named after its three performers — who share the same age, 43, and a mutual long, rich history amid the New York dance scene — “Becky, Jodi and John” was prompted by their shared friendship and an interest in examining the realities of dancing at their “advanced” age. READ MORE


Pitching Hay
by Ann Murphy

Deborah Hay is a hard one to catch. Years ago, she used to roll into town, often in the summer, and have a quiet interlude at Dancers Group/Footwork. She’d offer a workshop. Give a performance. And slip away. Appropriate to a performer whose work took the A out of art and reclaimed the exalted in the ordinary, she didn’t advertise much, if at all, as though you had to be drawn to her by rumor, magnetism or chance. I’d see a flyer, contemplate the moment, then I’d miss her, and each time I felt regret. I’d seen a couple of her group pieces, but long wondered what other kind of treasure this choreographer-Zen-naturalist might conjure. Now I know. READ MORE


 

 

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