Double the Diva
MONTE CARLO What do you get when you combine the sublime dramatics of Diana Vishneva and the stylish eloquence of Bernice Coppieters? Jean-Christophe Maillot’s Switch, which comes to the Salle Garnier in Monte Carlo Dec. 18–19. Maillot chose a cinematic score by Danny Elfman for the work, which features longtime Les Ballets de Monte-Carlo dancer Gaëtan Morlotti alongside Maillot’s two muses. Switch is paired on the program with Carolyn Carlson’s solo for Vishneva, Woman in a Room, part of Vishneva’s “On the Edge” evening, which premiered last month at the Segerstrom Center for the Arts in Southern California. www.balletsdemontecarlo.com.
Coppieters, Vishneva, and Maillot. Photo by Alice Blangero, Courtesy Les Ballets de Monte-Carlo.
Danzón in DC
WASHINGTON, DC This month, Ballet Hispanico visits the Kennedy Center for the first time under director Eduardo Vilaro. The soulful Jardí Tancat, Nacho Duato’s first choreographic work, joins the spirited duet Sortijas (Rings) by fellow Spaniard Cayetano Soto, Annabelle Lopez Ochoa’s vivacious all-male Sombrerísimo, and Vilaro’s own Danzón, made extraordinary by the infectious onstage musical performance of jazz saxophonist Paquito D’Rivera. Dec. 5–6, with masterclass led by BH company members on Dec. 4. www.kennedy-center.org.
Ballet Hispanico in Nacho Duato's Jardi Tancat. Photo by Paula Lobo, Courtesy Michelle Tabnick.
From Screen to Stage
PHILADELPHIA The wizards of BodyVox bring The Cutting Room, an homage to films of all persuasions, to the Annenberg Center in Philly. Under co-directors Ashley Roland and Jamey Hampton, who count MOMIX and Pilobolus among their credits, the Portland-based company is known for its theatricality and eye-catching physicality. The Cutting Room incorporates video clips to explore motion pictures, from documentary to romantic comedy to sci-fi. Dec. 12–14. www.danceaffiliates.org.
BodyVox in The Cutting Room. Photo by David Krebs, Courtesy BodyVox.
Moseying Along Moses’ Paths
NEW YORK CITY Leave it to Reggie Wilson to dig up rousing vocal music from the depths of black culture for his dances. The sound score for his new Moses(es), presented by Brooklyn Academy of Music’s Next Wave Festival, combines hip-hop, house, and traditional music from Egypt, Senegal, and Zanzibar. This full-length piece draws from another American who researched her roots: Harlem Renaissance writer Zora Neale Hurston. The nine dancers of Wilson’s Fist & Heel Performance Group will explore responses to questions inspired by various versions of the Moses narrative: How do we lead and why do we follow? Dec. 4–7, BAM Harvey Theater. www.bam.org.
Reggie Wilson's Moses(es). Photo by Julia Cervantes, Courtesy BAM.
CHICAGO Alejandro Cerrudo’s evening-length One Thousand Pieces for the dancers of both Hubbard Street Dance Chicago and Hubbard Street 2 returns to the Harris Theater Dec. 12–15. Described as a “rarely pausing onslaught of silky, gorgeous, often classically pure dance, dotted with bits of its choreographer’s persona” by Sid Smith of the Chicago Tribune, the piece, which premiered last year, draws inspiration from Marc Chagall’s blue-tinged America Windows and its Philip Glass score. (See “DM Awards,” p. 36). www.hubbardstreetdance.com.
Jessica Tong and Jesse Bechard in One Thousand Pieces. Photo by Todd Rosenberg, Courtesy HSDC.
Mad for MADboots
NEW YORK CITY After meeting in Sidra Bell’s contemporary dance company, Jonathan Campbell and Austin Diaz joined forces in 2011, creating compelling male-centered work for their NYC–based troupe MADboots dance co. The two have a knack for unison, and though Campbell comes by way of Juilliard and Diaz from NYU’s Tisch School, it’s like they were cut from the same postmodern cloth—gesturing, slicing, and rolling through space as one. This month MADboots will present two works for the 92nd St. Y’s Dig Dance series: their 2013 piece, blue, a work for three men with bouquets of brightly colored flowers inspired by Picasso’s Blue Period, along with a premiere, ACADEMY, a dance for five men set to an eclectic music and sound score. Dec. 7–8. www.madbootsdance.com or www.92y.org.
The men of MADboots. Photo by Nir Ariel, Courtesy MADboots.
Downtown Dance Sampler
NEW YORK CITY Every year Movement Research, that fortress of experimental dance and performance, holds a fall festival. Curated by Adrienne Truscott and Jibz Cameron, this edition is hosted by the Danspace Project at St. Mark’s Church. It includes masters of improvisation like Ishmael Houston-Jones, Greg Zuccolo, and members of a younger generation. For instance, Nikki Zialcita has worked with “25 to Watch” choreographer Faye Driscoll, and Sophia Cleary has worked with the brazen Ann Liv Young. Expect a range from serene to boisterous. Dec. 5–7 at Danspace Project. www.movementresearch.org or www.danspaceproject.org.
Adrienne Truscott. Photo by Ian Douglas, Courtesy Movement Research
Tolerance and Tragicomedy
NEW YORK CITY With its talkback format, Camille A. Brown’s latest work, Mr. TOL E. RAncE, is meant to engender conversation around race and humor. Through Brown’s vibrant choreography, the evocative piece, which Camille A. Brown & Dancers perform at the Kumble Theater for the Performing Arts in Brooklyn, Dec. 6–7, explores the historical roots of minstrelsy and its present-day forms. (Paging Miley Cyrus.) See www.camilleabrown.org to participate in the dialogue online.
Waldean Nelson in Mr. TOL E. RAncE. Photo by Paula Court, Courtesy Camille A. Brown
What’s Left Behind
MIAMI In Jonah Bokaer’s latest work, Occupant, premiering at Art Basel Miami on Dec. 6, dancers manipulate chalk plaster sculptures by visual artist Daniel Arsham, Bokaer’s frequent collaborator (who also worked with Merce Cunningham, Bokaer’s former boss). The work removes divisions between process and product—traces of the objects will transform the black-papered floor of the Carnival Studio Theater into a drawing. www.arshtcenter.org.
Jonah Bokaer. Photo courtesy Ellen Jacobs.
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?
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.
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."
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 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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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.
Memorial Day is notoriously one of Chicago's bloodiest weekends. Last year, 36 people were shot and seven died that weekend. In 2017 and 2016, the number of shootings was even higher.
When Garley "GiGi Tonyé" Briggs, a dance teacher and Chicago native, started noticing this pattern, she was preparing her second annual Memorial Day workshop for local youth.
The event's original aim was simple: "I wanted the youth of Chicago to have somewhere they could come and learn from different dancers and be off the streets on the South Side on this hot holiday," she says.