Shocking news
by John Percival
Two new works premiered in one programme; that's quite unusual, writes Royal Ballet director Monica Mason, and for her company it is. We have to remember that their schedules are fixed partly to fit in with the Royal Opera sharing the theatre, and no doubt partly by the choreographers' other commitments, but let us assume that it was a deliberate artistic choice. It came with special circumstances and was followed by a great shock. Was it wise? We'll see. READ MORE
Ailey Season Opens
by Susan Reiter
They don’t hold back on the speeches at an Alvin Ailey gala, but most of the verbiage that poured forth from the stage — particularly from the ever-vibrant Judith Jamison, who has led the company so ably for 17 years — was heartfelt, if somewhat obligatory. The two honorary chairpersons — i.e. celebrities — who spoke were well-chosen. The exceptional actress S. Epatha Merkerson clearly knows and understands what the Ailey company is about; she re called being taken to see them perform back in 1968 as a surprise 16thbirthday gift. And Rosie Perez, who came onstage prior to the concluding “Revelations” to add her buoyant presence, added some welcome down-to-earth sass to the proceedings. Soon after she began reading the fulsome — and, let’s face it, unnecessary — paean to the enduring greatness of the piece we were about to see, she stopped and eyed the audience. “Can you tell I didn’t write this myself?” she asked, to appreciative laughter.READ MORE
“The Return of Ulysses”
by Marc Haegeman
The Royal Ballet of Flanders opened its season with a piece of absurd movement theatre. Kathryn Bennetts introduced her second year at the helm of Belgium’s only classical company with the world premiere of Christian Spuck’s “The Return of Ulysses”. To bring innovation, encourage young talent as well as preserve the classics in the best possible conditions — in that order — have been Bennett’s main goals so far. However, after seeing Spuck’s Ulysses return in Antwerp, I fear this is one more example where ‘innovation’ is confused with ‘new to the repertory’ and ‘creation’. And why yet another foray into alien Tanztheater territory (after Forsythe’s “Impressing the Czar” last season and re-scheduled this month), with no concessions to the company’s own identity whatsoever, should prove such a great asset to the Royal Ballet of Flanders escapes me completely. READ MORE
San Francisco Letter 19
by Rita Felciano
Two recent events served as reminders of how satisfying it is to watch dance over an extended period of time. Observing artists pop up, develop and mature satisfies journalistic curiosity but also a deeper-seated desire to find out in which direction so-and-so is pushing the art.
But there is nothing quite like the thrill of windows opening unto unfamiliar landscapes. They offer new vistas and, maybe, even an adventure or two. It happened in the nineties with Butoh. It’s also occurring in world dance, many of whose practitioners are changing forms from the inside out. The mutations of Hip Hop and the emergence of contemporary African dance are just the most recently encountered phenomena. READ MORE