Curtain Up

When I saw Sarah Van Patten dance a slow section of Wheeldon’s Within the Golden Hour in 2008, I was mesmerized. The intensity of her focus made it seem like she was in a trance. And that was just one of her many moods. In “The Evolution of Sarah Van Patten,” Allan Ulrich describes her range by recalling that in a single weekend of Wheeldon’s Cinderella she played two opposite roles—the nasty stepsister and the sweet Cinderella. As Allan puts it, she traveled between “certifiable slapstick and almost mythical yearning.” Lucky for New York City, San Francisco Ballet is bringing Cinderella, along with works by Ratmansky, McGregor, Tomasson, Morris, and Possokhov, to Lincoln Center next month.


Van Patten putting her Freeds on at our photo shoot. Photo by Nathan Sayers.


For our “Fall Preview” this year we’re emphasizing the visual. I invite you to indulge in “What’s Alluring, What’s Touring, What’s New,” to get an eyeful of the fall season’s highlights. And in “Dance Matters,” we’re introducing an occasional section called “Comings & Goings.” Although some of this information of who’s going where to do what is spread across the Internet, we wanted to gather it all in one place for you.


We all know there is plenty wrong with the world that needs fixing. For most of us, though, our social or political consciousness is separate from our dance lives. But for Lorin Latarro, Jane Weiner, Ananya Chatterjea, and Heidi Latsky, their progressive outlook infuses their dance projects. In “Dancing for a Cause,” Lauren Kay, who actually participated in Latarro’s first flash-mob gun-violence protest, writes about Latarro diving into her “artist tool kit” to make an impact.


On the back page you’ll find a touching “Why I Dance” from Antoine Hunter of the Bay Area. He is a dancer who is deaf, or, rather, Deaf, the spelling he prefers since it’s aligned with Deaf Culture. His essay is a reminder of how the passion to dance can break through all kinds of obstacles.






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Courtesy Ava Noble

Go Behind the Scenes of USC Kaufman’s Virtual Dance Festival

Now more than ever, the students of USC Glorya Kaufman School of Dance are embodying their program's vision: "The New Movement."

As the coronavirus pandemic stretches on, the dance world continues to be faced with unprecedented challenges, but USC Kaufman's faculty and BFA students haven't shied away from them. While many schools have had to cancel events or scale them back to live-from-my-living-room streams, USC Kaufman has embraced the situation and taken on impressive endeavors, like expanding its online recruitment efforts.

November 1 to 13, USC Kaufman will present A/Part To/Gather, a virtual festival featuring world premieres from esteemed faculty and guest choreographers, student dance films and much more. All semester long, they've rehearsed via Zoom from their respective student apartments or hometowns. And they haven't solely been dancing. "You have a rehearsal process, and then a filming process, and a production process of putting it together," says assistant professor of practice Jennifer McQuiston Lott of the prerecorded and professionally edited festival.