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Smuin Ballet

The nostalgia factor looms large in Come Dance Me a Song, evoking a time when we were happier than we are now. Village Voice 8/30/04 … [Read more...]

ABDUCTING MOZART

Anne Teresa de Keersmaeker/Rosas / LaGuardia Concert Hall, NYC / August 25, 27, and 28, 2004 Mostly Mozart is looking to update its image. The annual summer festival at Lincoln Center, now in its 38th year, and its second under a new director, Louis Langrée, has ventured beyond pure concert work to what it terms—adopting corporate-world lingo—“new program initiatives.” One of these initiatives turns out to be theatrical presentation—specifically a couple of partnerships with dance. Last week, the Mark Morris Dance Group, in … [Read more...]

WITHOUT WHOM

Mark Morris Dance Group / New York State Theater, Lincoln Center, NYC / August 19 and 21, 2004 Typical Mark Morris! His company gets invited (for the third year running) to perform in Lincoln Center’s Mostly Mozart Festival—where dancers rarely tread—and he weighs in with a program of four pieces, not a single one of them choreographed to a Mozart score. Instead, the bill consists of Marble Halls (from 1985, to Bach), A Lake (1991, Haydn), Jesu, Meine Freude (1993, Bach), and I Don’t Want to Love (1996, Monteverdi). Since I’ve … [Read more...]

Universal Ballet of Korea

By far the most agreeable part of the Universal Ballet of Korea's "Romeo and Juliet" was the young company's personable dancers. Village Voice 8/17/04 … [Read more...]

FROGGIE BOTTOM

The Frogs / Vivian Beaumont Theater, Lincoln Center, NYC / July 22 – October 10, 2004 I can’t imagine why Susan Stroman—best known as the choreographer of Broadway shows, sometime provider of diversions for highbrow sites like New York City Ballet and the Martha Graham Dance Company—didn’t make dance a stronger element as director and choreographer of The Frogs. Surely her collaborators on this entertainment, Nathan Lane (libretto, lead role) and Stephen Sondheim (music and lyrics), knew what she does best. The show itself is a … [Read more...]

Von Ussar Danceworks; Michiyo Sato and Dancers

Astrid von Ussar uses juicy, ferocious movement to create dances exploring relationships of the heart; Michiyo Sato summons a polyglot vocabulary and a gently feminist aproach to treat issues rooted in the history of her native Japan. Village Voice 8/11/04 … [Read more...]

SWEAR NOT BY THE MOON

Universal Ballet / New York State Theater, Lincoln Center, NYC / July 30 – 31, 2004 Korea is a land with its own venerable dance traditions. Classical ballet, which had taken root there by the 1960s, was a distinctly foreign import (just as it once was in the U.S.). The major influence on the development of ballet in Korea has come from Russian practitioners who brought it a Russian approach to technique and a Russian repertory—nineteenth-century classics like Swan Lake and twentieth-century works in the Soviet style. A … [Read more...]

GOODBYE, ARGENTINA

Boccatango / Joyce Theater, NYC / July 26 - August 12, 2004 The New York dance audience knows Julio Bocca best from his star turns with American Ballet Theatre. These days, he’s also starring in Boccatango, teamed with members of Ballet Argentino, the company he leads back home in Buenos Aires. This touring vehicle is neither classical ballet nor tango, though. Rather, it's a show in which the choreographer Ana Maria Stekelman exploits both genres (as well as modern dance and jazz) to produce an entertainment more fit for a cabaret than the … [Read more...]

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