25 to Watch 2018: Alice Klock
Densely dimensional, unpredictable, strangely graceful and wild, Alice Klock's dances are like elegant ribbons caught in hopelessly tangled knots. In 2018, she'll choreograph more works than she did the year before, extending a trajectory that's continued throughout her still-brief career.
While her early premieres were in-house affairs at Hubbard Street Dance Chicago, where she also dances, Klock is increasingly sought-after as a guest choreographer. She has recently added to her resumé the International Beethoven Project, Neos Dance Theatre, the Nexus Project, NW Dance Project, Visceral Dance Chicago and, later this year, Whim W'Him.
Hubbard Street asked the willowy wunderkind, now 29, to be its second-ever Choreographic Fellow beginning last fall. She and Hubbard Street artistic director Glenn Edgerton redesigned the position, orginated by Alejandro Cerrudo, to allow Klock greater flexibility in pursuing freelance opportunities while fulfilling her performance duties during her seventh season with the company.
"I'm excited to grow that position and to do everything I can with it," she says, while noting that her other two titles—dancer and (prolific) painter—remain just as important.
"Strangely enough, those three facets of my artistic self feel like very different beings," says Klock, who shares her artwork on klockonian.com. "Each of them uses its own part of my creativity, but they all perfectly triangulate each other, which keeps me balanced."
There's always been something larger than life about choreographer Mark Morris. Of course, there are the more than 150 works he's made and that incisive musicality that makes dance critics drool. But there's also his idiosyncratic, no-apologies-offered personality, and his biting, no-holds-barred wit. And, well, his plan to keep debuting new dances even after he's dead.
So it should come as little surprise that his latest distinction is also a bit larger than life: The New York Landmarks Conservancy is adding Morris to its list of "Living Landmarks."
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.
Paul Taylor's Post Meridian was last performed 30 years ago, which is well before any of the company's current dancers joined Paul Taylor Dance Company. In fact, it's before some of the dancers were even born. Every step and extreme angle of the body in the dream-like world of the 1965 work will be fine-tuned in the studio for PTDC's upcoming Lincoln Center season. However, the Taylor archive is where Post Meridian began for Eran Bugge.
Philadelphia's Pew Center for Arts & Heritage announced its 2019 grantees Monday evening, and the list included a couple of familiar names: Dinita Clark and David Gordon.