6 March Performance Picks From Our Editors
A feast of Forsythe, a surfeit of Dorrance Dance, a challenge to how we perceive refugees. Our editors' performance picks this month run the gamut.
Boston's Mixtape Master
BOSTON Halfway into his five-year partnership with Boston Ballet, William Forsythe is gifting East Coast audiences with his first new work for an American company since 1992. Playlist (EP) expands on ideas from Playlist (Track 1, 2), a short work he created for English National Ballet last spring. Also on Boston Ballet's Full on Forsythe program: the U.S. premiere of Blake Works I, the 2016 debut of which was hailed by The New York Times as "a moment as important as the premiere of Mr. Forsythe's 'In the Middle, Somewhat Elevated,' " and a reprisal of his Pas/Parts 2018. March 7–17. bostonballet.org. —Courtney Escoyne
Fleeing Made Visible
Zahra Saleki, Courtesy Jaberi Dance Theatre
PETERBOROUGH AND TORONTO We hear about the growing number of refugees, but most of us do not see them or the lives they lead. Iranian-Canadian choreographer Roshanak Jaberi and her Toronto-based interdisciplinary group Jaberi Dance Theatre delve into refugee women's lives in No Woman's Land, showing us their hardships and their strengths. March 9–10, Market Hall Theatre in Peterborough; March 14–16, Harbourfront Centre Theatre in Toronto. jaberidt.com. —Wendy Perron
Two By Eight
Regina Brocke, Courtesy Freie PR
STUTTGART What's a company to do if it wants to commission eight new works, but the choreographers are too busy to come to the company? Gauthier Dance's answer: Send the dancers to the dancemakers. Nacho Duato, Marco Goecke, Mauro Bigonzetti, Richard Siegal, Rui Horta, Ed Wubbe, Roni Haver and Guy Weizman, and Barak Marshall all contributed new pas de deux to Deuces. After being created all over Europe, the program comes together at Gauthier Dance's home, Theaterhaus Stuttgart, March 16–24. theaterhaus.com. —CE
Queering the Kingdom
The NWA Project in Oba Qween Baba King Baba, Excerpt #1
Ian Douglas, Courtesy Danspace Project
NEW YORK CITY Gender nonconforming dancemaker Ni'Ja Whitson's Oba Qween Baba King Baba interrogates masculinity and how it impacts our perception of religion. This interdisciplinary work takes inspiration from the stories of queer and transgender children of preachers. On March 23, Danspace Project will host a free preview of the work for self-identified queer and transgender people of color. March 28–30. danspaceproject.org. —CE
A Match Made in Heaven
Mearns in a Bergasse-choreographed piece at Fire Island Dance Festival
Whitney Browne, Courtesy KPM Associates
NEW YORK CITY When Vera Zorina starred in the original 1938 production of I Married an Angel—Rodgers and Hart's musical comedy about a wealthy banker who weds a guileless angel—the choreography was handled by none other than her then-husband George Balanchine. Who better, then, to headline and choreograph New York City Center's revival than newlywed super couple Sara Mearns and Joshua Bergasse? March 20–24. nycitycenter.org. —CE
A Heaping Dose of Dorrance Dance
Dorrance Dance in Michelle Dorrance's Jungle Blues
Dana Lynn Pleasant, Courtesy New York City Center
NEW YORK CITY A surfeit of Dorrance Dance is coming our way, with three programs at New York City Center. Michelle Dorrance's innovative works, old and new, will be interspersed with contributions from guest artists. Master tap dancer Brenda Bufalino brings her jazzy Jump Monk. A premiere by America's greatest tapping clown, Bill Irwin, is bound to be the most fun Harlequin & Pantalone you've ever seen. March 28–30. nycitycenter.org. —WP
- Upcoming Performances — Dorrance Dance ›
- Dorrance Dance | New York City Center ›
- Rodgers & Hart's I Married an Angel | New York City Center ›
- Ni'Ja Whitson – Artist ›
- Ni'Ja Whitson | The NWA Project: Oba Qween Baba King Baba ... ›
- Gauthier Dance - Theaterhaus Stuttgart ›
- Jaberi Dance Theatre - No Woman's Land ›
- Jaberi Dance Theatre | Homepage ›
- William Forsythe: 'Isn't Ballet Delightful?' - The New York Times ›
- Boston Ballet - Full on Forsythe ›
- Seattle Performance Events Calendar - The Stranger ›
- 10 Dance Performances to See in N.Y.C. This Weekend - The New ... ›
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.