Why opera gets the crowds that ballet can only covet, revisited (with added call out to readers from Apollinaire, at end)

In typical Foot fashion--peripatetically--Paul Parish brings us back to the disparity between the popularity of opera and ballet, discussed about a month ago here and here and here. Here's Paul: Liking either ballet or opera is like liking brandy -- all you need is to taste it once and you'll say, where's this been all my life? The main difference is recording. Very little of the physical … [Read more...]

GO: The Oakland Dance Festival

Foot contributor Paul Parish sent me this email from the other coast, a de facto recommendation: The Oakland Dance Festival has got another weekend. It's a little like going to the Oakland Ballet used to be. There are kinda long waits between the numbers, but all the performances are full of energy, sincere, and they've got ideas.... I saw ODC last night, on a mixed bill put together by Charlie … [Read more...]

Theresa Ruth Howard reports on Dance/NYC’s Race and Dance forum (with response from Baraka Sele, July 2)

Earlier this spring, Dance/NYC sponsored a panel on dance and race. Foot contributor Eva Yaa Asantewaa contacted panelist and Dance Magazine chief Wendy Perron (whose race issue is now on line), and Perron enlisted Theresa Ruth Howard to file a report for Foot in Mouth. (I asked for an opinionated report, as Howard had been a vocal participant in the forum.) Theresa Ruth Howard is a former member … [Read more...]


Thanks to Artsjournal chief Doug McLennan, there is now a new sidebar category, Elsewhere, where I will post a rotating list of recent articles from Newsday, mainly. It's just under readers' comments, to the right. Today, a review of Ohad Naharin's "Decadance" at Cedar Lake. … [Read more...]

GO: Noche Flamenca, plus protocol

My friend and fellow blogger Terry Teachout thinks I'm a fool not to post my Newsday articles here. I don't want this blog to turn into a clearinghouse for work elsewhere, but given that the scantness of Foot posts by me often has to do with the other work I'm entangled in, I thought I'd post some reviews--eventually as a sidebar, as soon as I can figure that out. Here's a review of some great … [Read more...]

Foot In Mouth

This blog's concern is the tricky business of recognizing dance's peculiar language and history without needlessly isolating it from the rest of the culture. The blog began September 2006, with Eva Yaa Asantewaa and Paul Parish joining as cherished contributors soon after. Reader participation warmly welcomed. … [Read more...]

Apollinaire Scherr

Apollinaire Scherr is the New York-based dance critic for the Financial Times. She has written regularly for the New Yorker, the New York Times, and Newsday, and contributed to Salon, New York magazine, the Village Voice, Elle, the San Francisco Chronicle, Barnard magazine, and Flash Art International. She gave the 2010 keynote address for the Dance Critics Association. As a graduate student at … [Read more...]

GO: Ohad Naharin’s “Decadance,” performed by Cedar Lake Contemporary Ballet

From Eva: Oh, my! Ohad Naharin! Cedar Lake Contemporary Ballet! "Decadance!" Don't go if you don't want to feel as if someone has roughly grabbed you and dashed you all over the theater and left you winded, fighting for your life. Okay, maybe that doesn't sound terribly appealing but--trust me on this one--CLCB and Naharin will rock you. The dancers are talented and valiant. They have enormous … [Read more...]

A small epiphany about ABT’s “The Sleeping Beauty,” plus June plans

I'm under the gun with writing and non-writing, paying and volunteer assignments, so my participation in this blog may be slight for the next couple of weeks. But upcoming from others: --Eva Yaa Asantewaa's "GO" recommendations and anything else she wants to do. --A report by Theresa Ruth Howard, dancer extraordinaire with Karole Armitage, on Dance/NYC's race and dance panel, held in May. Late in … [Read more...]

Ballet Alert: Something we can agree on

Or most of us, anyway. If you think there's absolutely no merit to American Ballet Theatre's new "Sleeping Beauty," then it doesn't matter how cramped the stage space is. For the rest of us, it just might matter a lot. Tony Walton's set has internal wings on both sides of the already relatively narrow Metropolitan stage; they shrink the stage space by about six feet (and more in the Act I and III, … [Read more...]