Moses Pendleton has the humility and confidence to accept the existence of magic and repurpose it as his tool. In his latest work for Momix, he maneuvers the uneasiness of incredulity with earnestness and grace.
Pendleton isn't just a choreographer. He's a photographer who's featured in galleries around the United States and Europe. He's a writer and reader who translates ideas into images on the stage. He's an adventurer who listens to birdcalls and imagines musical scores.
Ballet Hispanico's troupe is diverse to reflect "who we are as hybrids in the world." Pieces like Mancillas' are about what it means to be mortal and flawed, not what it's like to come from a specific race or ethnicity. The world isn't cookie cutter, and neither is Vilaro's company.
Given Petronio's NYC connection, it's no surprise that his company will perform at the Joyce Theater this week. There's no other venue that so aptly captures the haunting enthusiasm and open intimacy that the city harbors, all of which is reflected in Petronio's repertoire.
It is a truth widely known fact that if you're fortunate enough to have written and published a book and lucky enough to have people talk about it, comments will run the gamut from good to bad, with many shades of mediocre in between.
I'll never forget the way Keigwin lept around me as I sat stock still in a chair in awe of his breathtaking artistry. It was absolutely thrilling. No less thrilling was catching Keigwin + Co. last week again, at The Joyce.
If human centipedes, Houdini-like escapes, Cirque de Soleil-style aerial acrobatics and lots of very sexy, muscular performers in dance belts appeal to your sense of fun and aesthetics, then Pilobolus' annual run at the Joyce Theater should be your cup of tea.
One of my very first jobs in New York City was working at the box office at The Joyce Theater. Ballet Hispanico performed that season. The company danced Good Night Paradise by Ramon Oller, and I was totally taken away. It swept me off my feet.
As I watched a rehearsal of Mauro Bigonzetti's new work titled, BachGround, I was reminded of Wiles' desire to bring the company's work to more people and to audiences who may not be familiar with ballet.
The dancers from the Smuin ballet are all talented and energetic and they telegraph their enthusiasm to an equally excited audience. They are a wonderful regional company -- just not quite up to snuff.
As an audience member, I believe in the journey each piece takes and am willing to follow where it leads. More importantly, I was moved -- I left feeling as though I'd experienced something -- an unfortunate rarity in today's landscape.
I do not subscribe to the Jewish religion, but to be one who is self-hating or denying of authentic parts of me would be to deny real ecology which has to include the diversity, not only outside, but inside of us as well.