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
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- Gauthier Dance - Theaterhaus Stuttgart ›
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- William Forsythe: 'Isn't Ballet Delightful?' - The New York Times ›
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Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
Every dancer knows there's as much magic taking place backstage as there is in what the audience sees onstage. Behind the scenes, it takes a village, says American Ballet Theatre's wig and makeup supervisor, Rena Most. With wig and makeup preparations happening in a studio of their own as the dancers rehearse, Most and her team work to make sure not a single detail is lost.
Dance Magazine recently spoke to Most to find out what actually goes into the hair and makeup looks audiences see on the ABT stage.
On a sunny July weekend, hundreds of Seattle-area dance fans converged on tiny Vashon Island, a bucolic enclave in Puget Sound about 20 miles from the city. They made the ferry trek to attend the debut performance of the fledgling Seattle Dance Collective.
SDC is not a run-of-the-mill contemporary dance company; it's the brainchild of two of Pacific Northwest Ballet's most respected principal dancers: James Yoichi Moore and Noelani Pantastico. The duo wanted to create a nimble organization to feature dancers and choreographers they felt needed more exposure in the Pacific Northwest.