5 Performances That Aren't The Nutcracker to Catch This December
We love The Nutcracker as much as the next person, but that perennial holiday classic isn't the only thing making its way onstage this month. Here are five alternatives that piqued our editors' curiosity.
A Storm of Dancing
MONTREAL Victor Quijada's hypnotic style of gliding, floating urban dance has expanded into his largest work yet. Vraiment doucement, which premieres at Danse Danse Dec. 5–8, sends 10 dancers into a frenzy of pulling, pushing and tugging. The title means "really gently" (or "ever so slightly"), but the movement is not always gentle. The dancers of Quijada's company, RUBBERBANDance, can play rough with each other, and this piece gathers force as it goes. Those attending will find out why dramaturg Mathieu Leroux says, "Victor's brain is like a giant tornado." dansedanse.ca. —Wendy Perron
A Century of Dreams
MIAMI AND NEW YORK CITY In her 100-year sleep, what did Aurora dream? According to the creators of Sleeping Beauty Dreams, that century may have been more of a nightmare. In this multimedia vehicle for ballet star Diana Vishneva, real-time avatar-mapping projection technology will create a surreal, ever-morphing dreamscape, populated by choreography from Edward Clug and a cast that includes Marcelo Gomes and Nicholas Palmquist. But the work is more than mere spectacle, says Vishneva: "It's a story of facing your own dark side." Adrienne Arsht Center for the Performing Arts, Miami, Dec. 7–8. Beacon Theatre, New York City, Dec. 14–15. sbdart.com. —Courtney Escoyne
Spectre of Nijinsky
Jean-Christophe Maillot's Daphnis et Chloé. Photo by Angela Sterling, Courtesy Les Ballets de Monte-Carlo
MONACO Few dance artists have captured the popular imagination like Vaslav Nijinsky. Through his work with Diaghilev's Ballets Russes, both as a leading dancer and precocious choreographer, the elusive star became indelibly associated with numerous ballets that shaped the art form in the 20th century. Les Ballets de Monte-Carlo presents a program of contemporary takes on a handful of these, from Johan Inger's Petrouchka and Jeroen Verbruggen's Prélude à l'après-midi d'un faune (both premieres) to Jean-Christophe Maillot's Daphnis et Chloé and Marco Goecke's Le Spectre de la rose. Dec. 8–9. balletsdemontecarlo.com. —CE
Blood and Guts
Photo by Paula Court, Courtesy New York Live Arts
NEW YORK CITY Blood, screaming and the guts to make razor-sharp political commentary are all hallmarks of a Dancenoise performance. Lucy Sexton and Annie Iobst, that notorious duo who lit up the club scene in the '80s and '90s, bring their latest group work to New York Live Arts. Still (or again) uproariously transgressive, they will no doubt unleash their imagination on the entrenched sexism of the day. The blood, whether spurting or smeared, is fake, but the lampooning is real. Dec. 12–15. newyorklivearts.org. —WP
Down the Yellow Brick Road
Tabitha (left) and Napoleon D'umo. Photo courtesy Tabitha and Napoleon D'umo
PASADENA, CA Mix together characters from The Wizard of Oz, a smattering of recognizable names from "So You Think You Can Dance" and some holiday spirit, and you get the Lythgoe Family Panto's latest production. The Wonderful Winter of Oz features choreography by Tabitha and Napoleon D'umo and a dancing cast of "SYTYCD" alums led by "Dance Moms" star Mackenzie Ziegler, plus family-friendly musical theater shenanigans. Dec. 14–30. americanpanto.com. —CE
- Lythgoe Family Panto ›
- Wonderful Winter of Oz | American Panto ›
- DANCENOISE : Lock 'em Up ›
- Review: Dancenoise Brings Biting Commentary (and Fake Blood) to ... ›
- The Whitney Embraces Dancenoise, a Brash '80s Performance Duo ... ›
- DANCENOISE: Don't Look Back | Whitney Museum of American Art ›
- Les Ballets de Monte-Carlo | ›
- Nijinsky programm | Season 18-19 | Les Ballets de Monte-Carlo ›
- Sleeping Beauty Dreams Show ›
- Sleeping Beauty Dreams Tickets | Beacon Theatre | 12/14-12/15/18 ›
- Sleeping Beauty Dreams - Adrienne Arsht Center - Miami ›
- Vraiment doucement / Ever So Slightly (promo) - RUBBERBANDance ›
- RUBBERBANDance ›
- New York City Center 2018 | Alvin Ailey American Dance Theater ›
- Dorrance Dance | The Joyce Theater ›
- December Dance Lights Up The Holidays | See Chicago Dance ›
Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.