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.
I dance to encourage others. The longer I dance, the more I see that much of my real work is to speak life-giving words to my fellow artists. This is a multidimensionally grueling profession. I count it a privilege to remind my colleagues of how they are bringing beauty into the world through their craft. I recently noticed significant artistic growth in a fellow dancer, and when I verbalized what I saw, he beamed. The impact of positive feedback is deeper than we realize.
If you think becoming a trainee or apprentice is the only path to gaining experience in a dance company environment, think again.
The University of Arizona, located in the heart of Tucson, acclimates dancers to the pace and rigor of company life while offering all the academic opportunities of a globally-ranked university. If you're looking to get a head-start on your professional dance career—or to just have a college experience that balances company-level training and repertory with rigorous academics—the University of Arizona's undergraduate and graduate programs have myriad opportunites to offer:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
Social media has made the dance world a lot smaller, giving users instant access to artists and companies around the world. For aspiring pros, platforms like Instagram can offer a tantalizing glimpse into the life of a working performer. But there's a fine line between taking advantage of what social media can offer and relying too heavily on it.