Search results for: william forsythe

The Forsythe Company Brooklyn Academy of Music and Baryshnikov Arts Center February 28-March 3, 2007; March 6-7, 2007 Reviewed by Elizabeth Zimmer Pictured: Forsythe Company Photo by: Stephanie Berger Courtesy Brooklyn Academy of Music Making his second swing through the United States since forming his new troupe two years ago, William Forsythe succeeds at something […]

Whether she’s in the studio—fearlessly flexible in a grand jété with her arms playfully thrown back—or onstage—fast and precise in her first lead role as The Nutcracker’s Lead Marzipan—Pacific Northwest Ballet corps dancer Destiny Wimpye glows. In Kiyon Ross’ new …throes of increasing wonder last season, she skittered across the floor, devouring the space. But more than dazzling leaps and quadruple pirouettes, it’s in her smaller movements, beautifully turned out, arms poised yet wondrously alive, that Wimpye shines onstage, exuding strength but also vulnerability.

The spring performance season is moving full steam ahead with literary-inspired ballets, a queer reimagining of Carmen, and premieres drawing from everything from the upcoming solar eclipse to contemporary American politics. Here’s what’s grabbing our attention.

When you’re in the role of leading, it’s a hard job. You have to manifest success while listening to everyone. I think women leaders are perhaps judged more harshly than our male counterparts. What I would like to see is more opportunities, more communication. I see more women leading in academia, and that is changing.

It’s unsurprising that someone with Tiler Peck’s energy and drive simply can’t stand still.

Electric performances, thought-provoking choreography, buzzy bodies of work—the artists on our annual list of dancers, choreographers, directors, and companies poised for a breakout share an uncanny knack for arresting attention. They’ve been turning heads while turning what’s expected—in a performance, from a career trajectory—on its head. We’re betting we’ll be seeing a lot more of them this year, and for many years to come.

Imagine leaving home and taking up residence in a foreign land—not as a migrant seeking refuge, but as an expatriate, voluntarily opting to start a new life in a different language and culture. That’s the “What if?” that many American dance artists dare to risk by relocating to Europe. African American dancers are a large part of this picture.

The Cincinnati Ballet soloist exudes a quiet confidence and curiosity, coupled with striking technique. It’s no surprise that just into her second season, the Cuban dancer had nabbed a promotion and already danced her first full-length title role, in Septime Webre’s Alice (in Wonderland).