[This piece first ran in the Los Angeles Times.] At the pre-show warm-up for "Bring It On: The Musical," performers in their 20s are stretching and assuming yoga postures, others are jumping rope or jogging softly in place. It's what you might expect from any cast of a musical. Then suddenly, downstage right, there's a complicated, unfamiliar … [Read more...]
Hofesh Shechter’s “Political Mother”
[This piece originally ran in the L.A. Times.] In a week of dramatic Mideast news, including the release of Sgt. 1st Class Gilad Shalit and the death of deposed Libyan leader Moammar Kadafi, Royce Hall audiences who caught the United States premiere of Israeli-born choreographer/composer Hofesh Shechter’s “Political Mother” traveled beyond these … [Read more...]
Ho-Hum “Footloose”
[This piece initially ran in the Los Angeles Times.] By one measure, director Craig Brewer’s 2011 restraint and careful focus in the retelling of “Footloose” appear a success for Paramount, and a boon for the propulsion of American dance. With heralded performances by its young leads and critical appreciation of its punched-up energy, Brewer’s … [Read more...]
Rockwell’s Rockwells
[this article originally ran on Crosscut] In 1943, Norman Rockwell — then America’s most popular artist, with regular Saturday Evening Post covers, annual Boy Scout calendars, plus scores of major U.S. advertising campaigns — was tapped by the Office of War Information to create a series of posters titled "The Four Freedoms." Based on the … [Read more...]
Alvin Ailey on 24-City Tour
How to institutionalize the extraordinary? There is a lesson to be learned from the amazing success and vitality of the Alvin Ailey American Dance Theater, now in its 53rd year. Their current tour is packed with choreography to inspire and dancers to full-on worship. I reviewed Alvin Ailey American Dance Theater for the Seattle Times. The next … [Read more...]
Billy Elliot in Spades
The film “Billy Elliot” is a masterpiece of storytelling economy. Alongside its most famous thread — a young boy’s discovery of ballet — Lee Hall portrayed the impotent rage of a redundant working-class population (it’s set during the year-long strike of the British National Union of Mineworkers), the insularity and conformity of small-town England … [Read more...]
Benjamin Millepied talks Dance on Film
[this piece originally ran in the L.A. Times] Dancer Benjamin Millepied, 33, comes off as a bit of a highbrow pawn in "Black Swan," Darren Aronofsky's award-winning ballet-horror film. One imagines his character's pale hands, lifting Natalie Portman, as dull and mean and clammy. Off-screen, however, Millepied has the world in a wide, warm embrace. … [Read more...]
The Consolation of Concert Dance
After the multiplying images of Japan’s natural disasters of the last week-plus, is there any way to ram some sort of grounding stick into place? In this glass-walled age where one nation’s disaster is seen and felt by people around the world, how does the imagistic snowball ever stop rolling? How does one hold tragedy’s drowning force and time’s … [Read more...]
In Defense of Black Swan
As a teenage dancer in 1970s Manhattan who took studio class every day and was egged into her first LSD trip with a group of scary young ballet dancers in a claustrophobic apartment on Manhattan’s Upper West Side, I may have been overly prepped to relish Darren Aronofsky’s Oscar-nominated “Black Swan.” No other film, (certainly not “Fame,” even … [Read more...]
Cinderella’s Closet
[This piece originally ran on Crosscut.] When a three-quarter-length tulle ballet skirt hits a certain sweet spot on the calf, it evokes one of the most pleasing iconic ratios — think of the lip of a bell encircling its clapper or the curving girth of a willow tree around its trunk. Fill a stage with a perfect storm of these swirling, swaying … [Read more...]