Subscribe to the magazine for free!

Email this page to a friend:


OCT 09
SEP 09
AUG 09
JUL 09
JUN 09
MAY 09
APR 09
MAR 09
FEB 09
JAN 09
DEC 08
NOV 08
OCT 08
SEP 08
AUG 08
JUL 08
JUN 08
MAY 08
APR 08
MAR 08
FEB 08
JAN 08
DEC 07
NOV 07
OCT 07
SEP 07
AUG 07
JUL 07
JUN 07
MAY 07
APR 07
MAR 07
FEB 07
JAN 07
DEC 06
NOV 06
OCT 06
SEP 06
AUG 06
JUL 06
JUN 06
MAY 06
APR 06
MAR 06
FEB 06
JAN 06
DEC 05
NOV 05
OCT 05
SEP 05
AUG 05
JUL 05
JUN 05
MAY 05
APR 05
MAR 05
FEB 05
JAN 05
DEC 04
NOV 04
OCT 04
SEP 04
AUG 04
JUL 04
JUN 04
MAY 04
APR 04
MAR 04
FEB 04
JAN 04
DEC 03
NOV 03
OCT 03
SEP 03
AUG 03
JUL 03

Advertising Information

Nov 2009
in this issue
[updated regularly - December 5, 2009]

Dance Umbrella
Festival 2009

[new] Recollections of Dance Umbrella "African Crossroads"
by Thea Nerissa Barnes -- October 2009, London
Eckhard Thiemann, curator for “African Crossroads”, stated in an interview by Donald Hutera that the series was “going to be a rich, exciting array of talents and perspectives”. Indeed the selection of dancemakers was diverse in artistic vision. Thiemann went on to say “Just don't go to it expecting to see undulating bodies in grass skirts… there's no room here for clichés or outdated, one-size-fits-all generalities”.

Mark Morris Dance Group- 'Visitation,' 'Going Away Party,' 'Three Preludes' and 'Grand Duo'
by Stuart Sweeney -- October 28, 2009, Sadler's Wells Theatre, London
You sometimes wonder how Mark This year sees the 25th anniversary of the first visit to London by the Mark Morris Dance Group (MMDG). I missed the original season in 2004, but saw them at London's The Place the following year. As one of the dancers from that era told me, “It was tough – sleeping on floors, getting kicked out of little hotels if we made too much noise and no money for anything.”

Mark Morris Dance Group- 'Empire Garden,' 'Bedtime,' 'V,' 'Visitation,' 'Going Away Party,' 'Three Preludes' and 'Grand Duo'
by David Mead -- October 27-31, 2009, Sadler's Wells Theatre, London
You sometimes wonder how Mark Morris manages consistently to make choreography and dance look so easy. Perhaps that is the problem for some. It looks too easy, and his dancers look so, well, normal. His work could almost be described as low key. It has none of the over-the-top athleticism with its frequently out of place hyper-extensions that we see so much of today, especially in ballet, but in contemporary dance too. And you rarely find yourself sitting there thinking what everything means. But musical and a totally joy to watch? You bet!

Shobana Jeyasingh Dance Company - 'Faultline' and 'Bruise Blood'
by David Mead -- October 22, 2009, Queen Elizabeth Hall, London

Shobana Jeyasingh’s return to Dance Umbrella featured two works that highlight her trademark fusion of contemporary dance and Indian themes and influences. Although both pieces have non-white men in trouble as their starting point, they are likely to connect with teenagers whatever their background. Having said that, those themes are not over-emphasised, and you never feel she is making a political statement.

Kettly Noël and Nelisiwe Xaba - 'Correspondences'
by David Mead -- October 19, 2009, The Place, London

Vincent Dance Theatre - 'If We Go On'
by David Mead -- October 17, 2009, The Place, London

more coming

William Forsythe

by Juliet Neidish -- Oct. 8, 2009, Brooklyn Academy of Music, Brooklyn, New York

In a post-performance talk at the Brooklyn Academy of Music’s Next Wave Festival, after the US premiere of “Decreation” (2003) performed by the Forsythe Company, William Forsythe spoke about his ongoing interest in the exploration of innovation. Mr. Forsythe explained that since Balanchine had mastered the marriage of music and movement in classicism, his own mark in the field would have to reside in a very different aspect of choreography.

The Desperate Calculus of William Forsythe in 'Decreation'
by Tom Ferraro -- Oct. 9, 2009, Brooklyn Academy of Music, Brooklyn, New York

William Forsythe is considered one of dances’ towering figures, having redefined classical ballet for the 21st century. This American legend, living in Germany for the last 32 years, has won the Bessie Award four times (1988, 1998, 2004, 2007), the French Commandeur des Arts et Lettres (1999), London’s Laurence Olivier Award (1992, 1999, 2009) and the German Distinguished Service Cross in 1997. Knowing all this, I was more then a little curious about William Forsythe and his company.

Forums Flashes
Direct from the CD forum...

Performances - Bytom Festival 2009
by Magdalena Mikrut

On July 5th, for the second time, Bytom market square hosted the All-Polish Street Dance Contest. Many competitors entered the lists for the the prizes donated by the Agora Gallery, which is under construction on Kosciuszko Square. Dancers had prepared sequences in hip-hop and break dance techniques, performed solo or in groups of up to 6 contestants. The participants struggled to win laurels in two age categories in each of the styles: Junior (up to 14 years old) and Senior. The award offered in this challenge was a money prize and a grant for the International Modern Dance Workshops, organised during the International Modern Dance Conference and Performance Festival. The jury consisted of 3 dancer-teachers: Kamil Lipka, Maciej Florek and Wojciech Kogucik.

To read more, click here


Phoenix of the Ballet: The South African Ballet Theatre's Success Story
by Kate Snedeker
Even considering the current economic downturn, it’s unlikely that any other company has emerged from adversity like The South African Ballet Theatre. Eight years after rising from the ashes of the former State Ballet Theatre in Pretoria, the company is thriving, having started an Academy, founded an extensive outreach program, toured Russia, hosted co-productions with the Royal Danish Ballet, produced four full length ballets a year to sold out audiences and moved into a gorgeous studio at the new Joburg Theatre complex.

Moving Fabric: Costumes and Movement in Tero Saarinen's Dances
by Rosella Simonari

One of the most intense moments in Tero Saarinen’s “Hunt” is when the whitish tutu-like skirt appears from above his head as a mysterious cloud and slowly descends on his body, becoming a substantial part of his choreography. It is like a ritual, and it particularly fits his solo re-working of the “Rite of Spring.”


[new] The National Ballet of Canada - 'The Sleeping Beauty'
by Kate Snedeker -- November 13, 2009, Four Seasons Centre, Toronto, Ontario
Kissing sleeping princesses is a dicey profession these days - your average 20-30-something healthy prince charming doesn’t qualify for an H1N1 vaccination yet and his trust fund has probably been drained by a Ponzi scheme. Fortunately the Prince and Princess in National Ballet of Canada’s “The Sleeping Beauty” had no such worries, and Nureyev’s opulent production transported the Friday evening audience into a fantasy world far away from flu and financial worries.

[new] Nejla Yatkin/NY2 Dance - 'Wallstories'
by Heather Desaulniers -- October 3-4, 2009, Dance Place, Washington, DC
Narrative's role in modern dance has been in a desperate state for some time now. Storytelling got a bad rap in the 1960s, when formalist choreographers turned away from meaning and representation in favor of structure and minimalism. What followed was decades of contentious debate over what was more important: form or content. Strong opinions existed and still exist in both camps. With all this bickering, dance, and its power to affect and move an audience, has gotten lost.

CityDance Ensemble - 'Latitude'
by Carmel Morgan -- October 22, 2009, The John F. Kennedy Center for the Performing Arts, Terrace Theater, Washington, DC
I first saw CityDance Ensemble, a DC area modern dance company, when I moved to the nation’s capital two years ago. Its dancers have been consistently good, but in the past the choreographic choices and artistic direction failed to sufficiently emphasize the gifts of this talented troupe. Recently, however, CityDance Ensemble has caught fire. They are now performing works that suit their specific strengths. Moreover, they are performing them at an entirely new and inspirational level. CityDance Ensemble has finally achieved that rare type of synergy in which the diverse dancers – short, tall, sassy, serene, seasoned, and just starting out – relate to one another in a remarkably cohesive manner. Although Delphina Parenti and Jason Garcia Ignacio still pack a powerful star punch, the company’s performers currently make up a true ensemble, in which every dancer contributes to the group’s success.

Keigwin + Company - 'Elements'
by Carmel Morgan -- October 22, 2009, The John F. Kennedy Center for the Performing Arts, Terrace Theater, Washington, DC
Keigwin + Company made a splash, quite literally, in its DC debut at the Kennedy Center. The company performed “Elements,” an evening length work without an intermission consisting of four distinct sections – “Water,” “Fire,” “Earth,” and “Air.” Larry Keigwin presented choreography that probed wit more than technique. Liz Prince delighted the audience with her costumes, which perfectly captured each of the four elements as the company addressed them.

Synetic Theater - 'Dracula'
by Carmel Morgan -- October 16, 2009, Rosslyn Spectrum, Rossyln, Virginia
“Dracula” for a theater company might be a little like “The Nutcracker” for a ballet company. “Dracula” is a popular story tied to a seasonal holiday, and it’s sure to bring in an audience. The Synetic Theater debuted “Dracula” in 2005, and it was reportedly a hit. Understandably, Paata Tsikurishvili, Artistic Director and CEO of DC’s Synetic Theater, wanted to bring “Dracula” back to life, especially given the country’s economic downturn.

Alonzo King's Lines Ballet - World Premiere with Jason Moran and 'The Moroccan Project'
by Toba Singer -- October 23, 2009, Yerba Buena Center for the Arts
“If something seems strange, taste it anyway,” Alonzo King advises his audience as he promises us a nourishing performance. With Ballet more and more trying on the mantle of Big Business, shooting all available angles from the reality show to the box office, it is restorative to return to the sheltering arms of LINES Ballet to discover what’s been bubbling up from Alonzo King’s crucible of pure movement.

Zurich Ballet - 'Lettres intimes,' 'Sarcasms' and 'In the Upper Room'
by David Mead -- October 10, 2009, Opernhaus, Zurich
For the opening programme of the new season, Zurich Ballet artistic director Heinz Spoerli decided on three works that bridged the classical and the modern, with a touch of humour thrown in. “Lettres intimes” is Spoerli’s interpretation of Janacek’s string quartet of the same title (or “Listy duverne” in Czech). Janacek composed the score in response to his affair with Kamila Stösservoa, a married woman, 36 years younger than himself, and the content of the letters he wrote to her.

Morphoses, The Wheeldon Company - 'Continuum', 'Softly as I Leave You' and 'Rhapsody Fantaisie'
by David Mead -- October 24, 2009, Sadler's Wells Theatre, London
Morphoses’ second London programme once again got underway with the now obligatory personal introduction by Christopher Wheeldon. This one was rather more engaging than that earlier in the week though. Wheeldon seemed rather more relaxed, probably because he had got the premiere his new ballet “Rhapsody Fantaisie” over and done with the previous evening. He also included some insight into the thoughts and inspiration behind the works on show that were not in the programme – much more the sort of thing he needs to do.

Morphoses, The Wheeldon Company - 'Commedia', 'Leaving Songs', 'Softly As I Leave You', and 'Boléro'
by David Mead -- October 21, 2009, Sadler's Wells Theatre, London

Mark Morris Dance Group - 'Italian Concerto,' 'Going Away Party,' 'Three Preludes,' and 'Grand Duo'
by David Mead -- October 20, 2009, Derngate, Northampton, UK

The Washington Ballet - 'Don Quixote'
by Heather Desaulniers -- October 16, 2009, The John F. Kennedy Center for the Performing Arts, Eisenhower Theater, Washington, DC

The Washington Ballet - 'Don Quixote'
by Carmel Morgan -- October 14, 2009, The John F. Kennedy Center for the Performing Arts, Eisenhower Theater, Washington, DC

Dana Tai Soon Burgess & Company - 'Hyphen' and 'Island'
by Carmel Morgan -- October 9, 2009, Dance Place, Washington, DC

Oregon Ballet Theatre - 'Emerald Retrospective' Program
by Dean Speer -- October 10, 2009, Keller Auditorium, Portland

Pacific Northwest Ballet - 'Roméo et Juliette'
by Dean Speer -- September 26, 2009, McCaw Hall, Seattle

LADO - 60 Years of Celebrating Traditional Croatian Music and Dance
by Heather Desaulniers -- October 9, 2009, Music Center at Strathmore-Bethesda, Maryland

Miami City Ballet - 'Symphony in Three Movements,' 'Valse Fantaisie,' 'Black Swan Pas de Deux' and 'In the Upper Room'
by Alyssa Schoeneman -- October 3, 2009, Auditorium Theatre, Chicago

Scottish Ballet - 'Rubies,' 'Workwithinwork,' 'In Light' and 'Shadow'
by David Mead -- October 1, 2009, Sadler's Wells Theatre, London

coming: Rosemary Lee, Rambert and National Ballet of Canada

editors' choice

· Festival de danse de Cannes
Nov 27 - Dec 4, 2009, Cannes
This year's festival pays tribute to Rosella Hightower.

· Roma Salsa Festival
Nov 19-22, Rome
People in love with the amazing Salsa can join magic moments by shows, stages and different kinds of dance like swing, rumba, cha cha cha, etc.



For ballet-dance magazine

Executive Editor
Kate Snedeker

Executive Editor 2003-2005
Mary Ellen Hunt

Focus and Photo Editors
Elizabeth McPherson, Dean Speer

Associate Editors & Compositors
Lori Ibay, Holly Messitt, Francis Timlin, Lisa Claybaugh, Azlan Ezaddin

about writers' guidelinesfaq privacy policy copyright notice advertising contact us