“The audience was in ‘the hole’ when the siren went off about 9:15. They evacuated to the safe room downstairs in the costume department, as did the dancers. We sat. The atmosphere was both rational (what are the chances of a rockets hitting right here?) and fearful (what if?), experienced and fresh, trying to keep the morale positive and alert; selfies were taken….We heard a few loud booms outside, presumably the iron dome intercepting the projectiles, and the sirens stopped.”
“If you were looking for evidence of how EDM has taken over America, and Las Vegas in particular, you wouldn’t necessarily need to go to Hakkasan. You could just drive from the airport to the strip and look at how many of the giant billboards now advertise not legendary singers or magicians or entertainers, but DJs.”
“For the past three years, since he made headlines by becoming the first American — and first foreigner — to be named a principal dancer at the storied Bolshoi Ballet, Hallberg, a blond, elegant dancer from the American heartland, has lived what he calls two separate lives — his American life, in New York, and his Russian life, in Moscow.”
“Long headquartered outside of the city, the company has settled into its new home at Boardwalk Hall, with all the dancers living close by in two big houses. The company will dance regularly at the Claridge, on the Boardwalk at Kennedy Plaza, and in a series of ‘Up Close and Personal’ performances inside its new ballet studio.” Company founder/director Phyllis Papa talks about the company’s past and future.
Gina Gibney has a singular opportunity to cultivate a new generation of audience members and artists. “Dance has just been in a downward spiral,” she says. “I can’t change that, but I do want to create a space … where things get better.” A modest proposal, but the response to Ms. Gibney’s new center will nonetheless foretell contemporary dance’s chance for survival.
Joan Acocella: “Glover is the greatest tap virtuoso of our time, perhaps of all time. … And, perhaps for that reason – that he never had to woo us – Glover had a problem with charm: namely, that he didn’t show much. … He not only didn’t smile; often he wouldn’t look at the audience. He did the show while watching his shoes or the band. And the fact that the people he wasn’t looking at were mostly white made the whole situation more edgy. We went there to love him, and he wouldn’t love us back, or even like us.”
“The British Dance Council is to consider proposals that would define a dance partnership as having to consist between a man and “a lady” on 21 July, just before a major competition in Bournemouth. If it is passed, it will ban same-sex couples from mainstream contests, regulating them to same-sex-only categories.”
“For its storied reputation of turning out some of the ballet world’s best dancers, Cuba has two equally dictatorial people to thank — Alicia Alonso and Fidel Castro. One an artist. One a political leader. Both with undeterrable personalities and a fierce commitment to their own agendas. Neither to be crossed lightly.”
“By one estimate there are now one hundred million public dancers in China, and the number is growing rapidly as the country ages. The “dancing grannies”, as they’ve been dubbed by the Chinese media, are facing an urban backlash. Younger city-dwellers see them as a nuisance, and are demanding they turn down the volume.”
“In the 12 years since [Mathew Pokoik] and his wife and co-founder, Aynsley Vandenbroucke, a New York City choreographer, bought 114 acres along an idyllic country road, Mount Tremper Arts has become a quietly thriving offshoot of the city’s contemporary performance world: a magnet for adventurous urban artists and a devoted local audience.”
“The art form, collectively, receives a 9.4% increase in NPO funding, upping its slice from 11 to 12%. Better yet, there are signs that ACE is formulating a strategy for building a more secure network for dance across England, brokering relationships between large and small organisations, creating links between individual companies, theatres and regional dance agencies that should give the still-fragile dance ecology a firmer base.”
“The New York Police Department is cracking down on the subway showmen who use the tight quarters of the nation’s busiest transit system as moving stages for impromptu – and illegal – pass-the-hat performances. More than 240 people have been arrested on misdemeanors related to acrobatics so far this year, compared with fewer than 40 at this time a year ago.”
“By the end of the 12 weeks, those who danced had less pain in their knees and hips and were able to walk faster, said Jean Krampe, an assistant professor of nursing at Saint Louis University and lead author of the study. The use of pain medicines fell by 39 percent among seniors in the dance group but rose 21 percent among those who did not dance, she noted.”
“Artistic director Sergei Filin, 43, has recovered from an acute allergic reaction to an eye treatment that sent him to the hospital Friday … Filin, who was nearly blinded in a 2013 acid attack, wasted no time getting back to the theater for rehearsals.” Several Russian media reports over the weekend stated that he was in critical condition.
Acosta: “In the beginning when you see Romeo and the other kids they just want to fight and joke around with harlots. … But then you witness a transformation inspired by powerful love. When I first played this role I was too young to understand that complexity.” Rojo: “I think life experience gives you things but it also takes away. It takes away naiveté. And it takes away belief.”
Passe-Partout “presents a new stage for dance that allows a user to overlay a series of one-minute pieces onto one another – there are eight solos or duets in total, though only five can be seen simultaneously – choreographed by Justin Peck for Mr. Ulbricht and himself. These layers allow for more than 40,000 permutations of dances. That’s a lot of bang for 99 cents.”