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Dance

    Social settingsSocial settings:  Seán Curran at the Tsai Center
    Seán Curran’s dance looks like a formal exposition of movement, but after a while you begin to imagine webs of social interactions, relationships, and hidden histories.
    By: MARCIA B. SIEGEL


    Chris and friendsChris and friends:  Wheeldon’s Morphoses at City Center
    The hype was huge, but Wheeldon seems to have a modest agenda.
    By: MARCIA B. SIEGEL


    Dark victoryDark victory:  Boston Ballet in Serenade and La Sylphide
    It’s a good pairing: together, Serenade and La Sylphide write an essay on doomed love
    By: JEFFREY GANTZ


    Twinkle, twinkleTwinkle, twinkle:  Boston Ballet’s ‘Night of Stars’
    For some 15 years now, Boston Ballet has danced like a major international ballet company, and Mikko Nissinen wants to be sure everybody’s aware of that.
    By: JEFFREY GANTZ


    Teasers and tidbitsTeasers and tidbits:  Bunraku at the Majestic; Marcus Schulkind at Green Street
    The puppeteer’s face and body reflect what the puppet is going through, as if the puppet were giving life to him instead of the other way around.
    By: MARCIA B. SIEGEL


    Busy busyBusy busy:  Something for everyone
    “If you pulled the cord and the chute didn’t open, how would you dance on the way down?”
    By: DEBRA CASH


    Rich menuRich menu:  And Hubbard Street Dance deliver
    Hubbard Street Dance Chicago proved a worthy finale for Jacob’s Pillow Dance Festival’s 75th-anniversary season.
    By: JANINE PARKER


    Illusion and bedrockIllusion and bedrock:  Invisible Wings, plus Henri Oguike and Bridgman/Packer at Jacob’s Pillow
    Oguike, I think, makes movement like a mime artist.
    By: MARCIA B. SIEGEL


    Pillow talkingPillow talking:  Ballet du Grand Théâtre de Genève and the Mark Morris Dance Group
    Last summer, Los Angeles Times dance critic Lewis Segal suggested that ballet is dying an ugly, boring death.
    By: JANINE PARKER


    The reign in SpainThe reign in Spain:  Boston Ballet on tour
    If only the company could return to the local appreciation its international achievement deserves.

    By: CHRISTINE TEMIN


    Dances with characterDances with character:  Headlong Dance Theater, Chunky Move, Paul Taylor
    Dancers are working with character more frequently, after decades of choreography drenched in physical accomplishment.
    By: MARCIA B. SIEGEL


    Stand-up choreographyStand-up choreography:  David Parker + the Bang Group
    David Parker was born too late for vaudeville.
    By: DEBRA CASH


    Neo-hoodoo and street kabukiNeo-hoodoo and street kabuki:  Fist and Heel at Concord’s Summer Stages and Kabuki in New York
    Tradition: how to preserve it in a globalized modern culture.
    By: MARCIA B. SIEGEL


    KnotsKnots:  Misnomer at Concord Academy
    Like its name, Misnomer Dance Theater seems devoted to contrariness.
    By: MARCIA B. SIEGEL


    Postmodern cabaretPostmodern cabaret:  Susan Marshall and Doug Varone at Bard
    The Spiegeltent at Bard College fits into two big trucks and can be raised in a couple of days by a crew of workers.
    By: MARCIA B. SIEGEL


    Life is but a dreamLife is but a dream:  Aurélia Thierrée and Coleman Lemieux at Jacob’s Pillow
    Children from theatrical families are often said to have been born in a trunk.
    By: DEBRA CASH


    Not quite NinaNot quite Nina:  Ananiashvili and the State Ballet of Georgia look to find their footing
    On hearing the opening notes of the Kronos Quartet composition and seeing the dancers lit in sunny yellow, I feared we were about to be subjected to one of those “up with people” ballets.
    By: JANINE PARKER


    Two tales retoldTwo tales retold:  NYCB’s The Nightingale and the Rose, ABT’s Sleeping Beauty
    The big ballet companies are shackled tighter than ever to the idea of the story ballet.
    By: MARCIA B. SIEGEL


    Adventurous demosAdventurous demos:  Lorraine Chapman’s The Floating World, Snappy’s String Beings
    With a variety of scrims, opaque panels, and lighting tricks, the seven dancers became the source for a dreamy succession of images by new-media artist Jonathan Bachrach.
    By: MARCIA B. SIEGEL


    Grief workGrief work:  Prometheus's 'Devil's Wedding'
    From dance to dance, they shared a movement vocabulary that suggested pain, struggle, solace, and submission to unseen but unbreakable constraints.
    By: MARCIA B. SIEGEL


    LightweightsLightweights:  Mark Morris at the ICA, Latin Jazz at the Shubert
    Two of Boston’s major dance series wound up their 2006–2007 season last week with low-calorie desserts.
    By: MARCIA B. SIEGEL


    Tragic tropes and anti-tropesTragic tropes and anti-tropes:  NYCB's Romeo, Boston Ballet's Giselle
    The only question to ask about a new Romeo and Juliet, besides “Why?”, is “Why New York City Ballet?”
    By: MARCIA B. SIEGEL


    Love after deathLove after death:  Boston Ballet redeems Giselle
    At 166 years old and sporting miles of white tulle, Giselle can look pretty moldy.
    By: JEFFREY GANTZ


    Love and deathLove and death:  Boston Ballet's "Classic Balanchine" has all the basics
    “Classic Balanchine” as opposed to . . . “Jazz Balanchine”? “Porno Balanchine”? What was the alternative?
    By: JEFFREY GANTZ


    Converging streamsConverging streams:  Ailey does Ailey and Tharp, plus Caitlin Corbett
    The Alvin Ailey American Dance Theater offered two milestones in the development of contemporary dance during its annual Celebrity Series visit to the Wang Theatre last week.
    By: MARCIA B. SIEGEL


    City limitsCity limits:  Boston Cyberarts’ ‘The Body’s Limit’ at Green Street, ‘Ten’s the Limit’ at the ICA
    There’s nothing like the first weekend of beautiful weather to raise skepticism about digitally mediated experience.
    By: DEBRA CASH


    Untold talesUntold tales:  Bebe Miller at the ICA, Kelley Donovan at the Dance Complex
    Some dances are made on specific story lines that they keep to themselves.
    By: MARCIA B. SIEGEL


    From Berlioz to BayadèreFrom Berlioz to Bayadère:  The BSO and Boston Ballet announce 2007–2008
    The czy ambiance at Symphony Hall made the announcement of the Boston Symphony Orchestra’s 2007–2008 season seem like a family chat with James Levine.
    By: JEFFREY GANTZ


    Why blame Chekhov?Why blame Chekhov?:  Eifman’s Seagull, plus [bjm_danse] and Susan Marshall
    The Eifman Ballet of St. Petersburg have been scavenging Russian literature for 30 years now in search of suitably theatrical subjects.
    By: MARCIA B. SIEGEL


    Bird brainBird brain:  Boris Eifman’s The Seagull
    The plays of Anton Chekhov don’t take well to dance.
    By: JEFFREY GANTZ


    Warm with showersWarm with showers:  Cirque Éloize at the Majestic
    Cirque Éloize’s Rain culminates in an on-stage downpour, but the audience knows that in advance.
    By: MARCIA B. SIEGEL


    Terpsichore’s delightTerpsichore’s delight:  The joys of spring dance
    Traveling troupes and local dancemakers spring up around the Boston area this season.
    By: DEBRA CASH


    Building blocksBuilding blocks:  Nacho Duato, Jorma Elo, Marc Bamuthi Joseph
    New ballets must be one of the world’s most expensive consumable products.
    By: MARCIA B. SIEGEL


    Sight and insightSight and insight:  Boston Ballet’s ‘New Visions’
    “New Visions” is the kind of title ballet-company directors come up with for programs that are sort of new and are hoping for vision.
    By: JEFFREY GANTZ


    Physics at bayPhysics at bay:  Elizabeth Streb versus gravity
    Elizabeth Streb has changed the name of what she does again.
    By: MARCIA B. SIEGEL


    Dreaming and remembranceDreaming and remembrance:  Boston Ballet’s Midsummer, Boston Conservatory’s Dark Elegies
    Two momentous revivals in town showed us how big the category of classical ballet really is.
    By: MARCIA B. SIEGEL


    Eclecto-flamencoEclecto-flamenco:  Compañía Rafaela Carrasco at the Majestic
    The house lights go down and the audience at the Cutler Majestic feels the opening space of the stage rather than seeing it.
    By: MARCIA B. SIEGEL


    Drama danceDrama dance:  Complexions at the Tsai Center
    Half a century ago something known as dance drama occupied a large part of the modern-dance repertory.
    By: MARCIA B. SIEGEL


    Dance chantDance chant:  Deborah Abel at MIT
    According to Deborah Abel, breath is the key to self-awareness and a defense against the distractions of everyday life.
    By: MARCIA B. SIEGEL


    L’Allegro, fuss and feathers, and the ICA bluesL’Allegro, fuss and feathers, and the ICA blues:   A year in dance
    This year we were looking forward to dance performances at the Barbara Lee Family Foundation Theater in the new ICA.
    By: JEFFREY GANTZ


    Wolf loveWolf love:   Marjorie Morgan in Brookline
    Marjorie Morgan has extended her musical adventures with a new piece for seven dancers and double bassist.
    By: MARCIA B. SIEGEL


    Where’s the magic?Where’s the magic?:  Looking for enchantment from Boston Ballet’s Nutcracker
    The hook for Boston Ballet’s production of The Nutcracker this year is “more magic.”
    By: JEFFREY GANTZ


    Ordered stepsOrdered steps:  Ronald K. Brown at the Majestic
    “I will not move without Your consent,” swears the text at the heart of Ronald K. Brown’s 2005 work Order My Steps.
    By: DEBRA CASH


    Darkness with flaresDarkness with flares:  GooSayTen at Zero Arrow, Deborah Butler at Casa Nia
    To American eyes, butoh dance is the ultimate in weirdness.
    By: MARCIA B. SIEGEL


* *
BLOGS
  Funny Gamesmanship
posted at 7:18 PM / 10.26.2007
  Terror campaign
posted at 6:23 PM / 10.24.2007
  More Lust, More Caution: Ang Lee II
posted at 6:11 PM / 10.10.2007
  Cautionary tale: Lee on "Lust"
posted at 4:38 PM / 10.5.2007
  Questions For Deborah Solomon
posted at 11:20 AM / 10.30.2007
  Video: Nick Hornby on Slam, the Sox, Tony Hawk, and Time Traveling
posted at 11:21 AM / 10.29.2007
  This Thing Is A Lot Like That Thing
posted at 3:53 PM / 10.19.2007
  Friday Literary Links: Ungrateful Edition
posted at 12:26 PM / 10.12.2007


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