Barak Marshall's Monger, which appears at the Walking Distance Dance Festival this month. Photo by Rose Eichenbaum, Courtesy John Hill PR
A Broadway luminary and a postmodern darling bring their talents to ballet, a music video maven turns to the concert stage, and a contemporary choreographer gets soulful with Aretha Franklin. Our editors' must-sees this May are all about the unexpected.
Let me start with a confession: Growing up, I was the type of dancer who believed that there was only one kind of real dance: Ballet! Everything else was for the unchosen ones; other dances were fabricated by humans for the large masses who were not selected by Terpsichore. Dance was human. Ballet was divine.
Fast forward 30 years. I'm the artistic director of Tulsa Ballet, and I now understand that ballet was just a step in the evolution of dance, a journey that started with the Homo sapiens and has taken us to Broadway and hip hop. Now, at age 57, I appreciate ballet but love contemporary dance. But my passion? It resides in Broadway!
Aspen Santa Fe Ballet in Nicolo Fonte's The Heart(s)pace. Photo by Sharen Bradford, Courtesy ASFB
Small- to medium-sized companies based in cities outside dance meccas—New York City, Chicago, Los Angeles—are often written off as "regional," or somehow lesser than their big city counterparts. But in recent decades, a few have defied such categorization as they've gained traction on the national and international scene.
So how does a company build an international profile without losing connection to its hometown? We asked the directors of Tulsa Ballet, Aspen Santa Fe Ballet and Sarasota Ballet to share their strategies.
Xenos, Akram Khan's final full-length solo, is an ode to the soldiers of World War I. Photo by Nicol Vizioli, Courtesy Sadler's Wells
We might have gotten a little bit carried away with this year's "Season Preview"—but with the 2018–19 season packing so many buzzy shows, how could we not? Here are over two dozen tours, premieres and revivals that have us drooling.