Article in The FT.
Dance Umbrella and the Barbican's Bite season have pulled off a notable coup: the world premiere of a Merce Cunningham piece. Dance Umbrella has, as all right-minded organisations should, long supported Cunningham, and the Barbican has twice offered its fine and dance-friendly stage to the American master. The reward is a season, and really not to be missed, in which four of Cunningham latest pieces (made during the past two years) and a revival of the winning How to Pass, Kick, Fall and Run of 1965, are on view until the week's end. Thus we celebrate 50 years of Cunningham's troupe, and even more years of work by this ever-fresh, ever-inquiring, ever-challenging and ever-delighting creator, explorer, innovator and guide to dance's possibilities. MORE
And in The Telegraph.
When a creator gets old and famous, there's an irresistible urge to prod his work and ask whether it genuinely shows that the stove is still firing. With Merce Cunningham, now aged 83, the urge is even greater since the last thing most of his audience wants is that the man who made his reputation by baffling us with his modern ideas should become cosy. MORE
And in the Guardian.
The Cunningham company are celebrating their 50th anniversary, and British fans are sharing the celebrations this week by hosting the world premiere of Cunningham's latest work, Fluid Canvas, at the Barbican. The title refers to the shimmering, shifting stage-scape that has been created for the work by digital artists Shelley Eskar, Paul Kaiser and Marc Downie, in which images of Cunningham's hands are morphed into doodles of cosmic landscapes, alien life forms and geometric puzzles. But the name Fluid Canvas could just as easily apply to most of Cunningham's other works, evoking as it does his genius for animating every part of the stage, for making all the spaces between the dancers feel elastic, expectant. MORE
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