Category Archives: DANCE

WINTER DANCE 2019 AT REDCAT

Once again, the CalArts Winter Dance program celebrates the canon, this year with a program of works by Yvonne Rainer, Danielle Agami, Salia Sanou, and Wayne McGregor, staged either by the original choreographers or their close associates.

Rainer’s DIAGONAL—part of her 1963 dance Terrain—will be staged by dance artist and certified Rainer transmitter Sara Wookey, and McGregor’s FAR (2010) by former Company Wayne McGregor dancer Louis McMiller.

Sanou is staging his own work DU DESIR D’HORIZON (2016), and ONLY THEN—the Agami selection of excerpts—is staged by the choreographer and her Ate9 dancers Sarah Butler and Rebecah Goldstone.

CALARTS WINTER DANCE—REPERTORY RIGHT NOW!

Friday and Saturday, December 6 and 7, at 8:30 pm.

REDCAT

631 West 2nd Street, downtown Los Angeles.

Dancers this season include Mandolin Burns, Yunju Cho, Faith Johnson, Claire Kilgore, Breonna Leigh, Andrea Soto, Matreya Teichrow, Madeline Wray, Josie Anders, Jaden Johnson, Kiara Jones, Ava Kough, Jules Mara, Lena Martin, Alicia Pak, Mao Tokunaga, Justin Farmer, Mia Givens, Damontae Hack, Bethanie Hayes, Ally Hernandez, Emara Neymour-Jackson, Sofie Oldenboom, Nicholas Ruscica, Makayla Sifuentes, Gloria Tonello, Chloe Crenshaw, Genevieve Fletcher, Yunni Lin, Luciana Lyons, Jade Moreno, Risa Padilla, Nia Scovel, Madyson Thornquest, Keely Uchida, Emilio Wettlaufer, Aaron Wilson, Hannah Wu, Lilly Wylde, Delisa Bass, Kaitlyn Benzant, Eliana Grimes, Shannon Hafez, Kehari Hutchinson, Madison Lynch, Dave McCall, Kait McKinney, Taliha Scott, Andrew Tiamzon, Annmarie Arcuri, Emilee Iuvara, and Seamus Peart.

From top: Wayne McGregor, Far (2010), (2); Salia Sanou, Du desir d’horizon (2016), (2); Yvonne Rainer, Diagonal, part of Terrain, (1963/2019); Danielle Agami, Only Then, (2014/other); Sanou, Du desir d’horizon; McGregor, Far. Photographs by Rafael Hernandez, courtesy and © the choreographers and stagers, the dancers, the photographer, and CalArts.

NICK MAUSS — TREATISE ON THE VEIL

For his Museum Ludwig performance work TREATISE ON THE VEIL—part of the museum’s exhihibition TRANSCORPOREALITIESNick Mauss “draws out re­s­o­nances be­tween dis­parate works from the mu­se­um’s col­lec­tion, such as Jasper Johns’ 15′ En­tr’acte (1961) en­coun­ter­ing a paint­ing of lin­ger­ing per­form­ers by Erich Heck­el (1928). In Mauss’ con­fig­u­ra­tion, th­ese works dia­log with a pro­ject­ed pho­to archive by Carl Van Vecht­en and a new chore­og­ra­phy de­vel­oped with stu­dents from the Uni­ver­si­ty for Mu­sic and Dance Cologne.”*

NICK MAUSS—TREATISE ON THE VEIL*

Saturday and Sunday, November 23 and 24.

Tuesday and Wednesday, November 26 and 27.

Performances from 2 pm to 6 pm.

TRANSCORPOREALITIES

Through January 19.

Museum Ludwig

Hein­rich-Böll-Platz, Cologne.

From top: Nick Mauss, Treatise on the Veil, 2019, Museum Ludwig, Cologne, Transcorporealities, installation view, from top: photograph by Nathan Ishar; slide by Carl Van Vechten; Jasper Johns, 15′ Entr’acte, 1961; Treatise on the Veil installation view, photograph by Annika Schönfeldt, RheinischesBildarchiv, Cologne, edited by Mauss. Images courtesy and © the artists, the artist’s estates, the photographers, and Museum Ludwig.

MICHAEL KEEGAN-DOLAN’S SWAN LAKE

Matthew Bourne, with his aggressive male swans and nightclub scenes, took Swan Lake in one direction. Michael Keegan-Dolan’s short, Tchaikovsky-free take—LOCH NA HEALA (SWAN LAKE)—goes somewhere else altogether. Inspired by a number of folktales, including “The Children of Lir,” and updated to present-day Ireland, Keegan-Dolan gives us predatory priests, suicidal depressives, and Mikel Murfi as a goat, leading up to an exhilarating, shambolic climax.

This dance-theater-performance art hybrid—performed by Keegan-Dolan’s company, Teaċ Daṁsa, and co-presented by UCLA’s Center for the Art of Performance and the Ford Theatres—will be at Royce Hall for one night only. The trio Slow Moving Clouds will perform their score onstage.

LOCH NA HEALA (SWAN LAKE)

Saturday, November 9, at 8 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

Michael Keegan-Dolan / Teaċ Daṁsa, Loch na hEala (Swan Lake), November 9, 2019, Royce Hall, UCLA, from top: Rachel Poirier (left) and Alex Leonhartsberger (foreground); Michael Murfi, (left) Leonhartsberger (sitting), Erik Nevin, Zen Jefferson and Keir Patrick; Leonhartsberger (left), Patrick, Murfi, Nevin, Jefferson, and Dr. Elizabeth Cameron Dalman; Murfi, Nevin, Dalman, and Patrick; Poirier, Latisha Sparks, Carys Staton, and Anna Kaszuba. Photographs by Reed Hutchinson, images courtesy and © the photographer, the choreographer, the artists, and CAP UCLA.

ANNE TERESA DE KEERSMAEKER IN PERFORMANCE AND CONVERSATION

On the opening day of her dance installation at Kunstsammlung NRW, Anne Teresa De Keersmaeker will participate in an artist talk with Kunstahalle Basel director and curator Elena Filipovic, who edited De Keersmaeker’s exhibition catalog Work / Travail / Arbeid.

The installation—curated by Isabelle Malz—is a reconception of De Keersmaeker’s 1982 work FASE, FOUR MOVEMENTS TO THE MUSIC OF STEVE REICH. The piece will also be performed once in a stage version at Tanzhaus NRW.

The dancers—in alternating pairs—are Laura Bachman and Soa Ratsifandrihana, and Yuika Hashimoto and Laura Maria Poletti.

Following the presentation in Düsseldorf, De Keersmaeker will return to New York City where she is choreographing Ivo van Hove’s new Broadway production of Leonard Bernstein and Stephen Sondheim’s West Side Story. Previews begin on December 10, with opening night set for February 6, 2020.

ANNE TERESA DE KEERSMAEKER / ROSAS—FASE, FOUR MOVEMENTS TO THE MUSIC OF STEVE REICH installation

October 29–November 10, 2019.

Starting every hour from noon.

ANNE TERESA DE KEERSMAEKER IN CONVERSATION with ELENA FILIPOVIC

Tuesday, October 29, at 6 pm.

Kunstsammlung Nordrhein-Westfalen K20

Grabbeplatz 5, Düsseldorf.

ANNE TERESA DE KEERSMAEKER / ROSAS—FASE, FOUR MOVEMENTS TO THE MUSIC OF STEVE REICH stage adaptation

Saturday, November 9, at 8 pm.

Tanzhaus Nordrhein-Westfalen

Erkrather Strasse 30, Düsseldorf.

From top: Anne Teresa De Keersmaeker; De Keersmaeker (left) and Michèle Anne De Mey performing Fase, Four Movements to the Music of Steve Reich in 1999, photograph by Stephanie Berger (second from top and below); De Keersmaeker, Fase, 2018, Soa Ratsifandrihana (left) and Laura Bachman (2); Laura Maria Poletti; Ratsifandrihana and Bachman; Yuika Hashimoto and Poletti; Hashimoto; photographs by Anne Van Aerschot. Anne Teresa De Keersmaeker—Work / Travail / Arbeid, edited by Elena Filipovic, image courtesy and © Wiels (above). Dance images courtesy and © the choreographer, the dancers, and the photographers.

BALANCHINE’S JEWELS AT THE MUSIC CENTER

JEWELS (1967) is the three-part dance George Balanchine made in tribute to his early years at the Mariinsky Theater’s ballet school, where he learned techniques in mime and character and absorbed the school’s academic style. JEWELSEmeralds, Rubies, and Diamonds—is also, according to Arlene Croce, “unsurpassed as a Balanchine primer, incorporating in a single evening every important article of faith to which this choreographer subscribed and a burst of heresy, too, to remind us that he willingly reversed himself on occasion.”*

The heresy was the creation—on Edward Villella, for Rubies—of a major role for a male dancer equal to his female partners. Balanchine was famously preoccupied with his ballerinas, and his danseurs were there as support—in his words, “very important as princes and attendants to the queen, but woman is the queen.”* So Rubies—set to music by Igor Stravinsky—is the anomaly, falling between the choreographer’s great showcases for his primas: Emeralds (music by Gabriel Fauré) and Diamonds (Tchaikovsky).

As the opening engagement of the 2019–2020 season of Glorya Kaufman Presents Dance at The Music Center, the Mariinsky Ballet—accompanied by the Mariinsky Orchestra—will dance five performances of Balanchine’s JEWELS, which is titled for its gem-encrusted costumes as well as the necklace strands and diamond shapes of its choreography, an aspect best seen from the upper balcony. See link below for casting.

MARIINSKY BALLET—GEORGE BALANCHINE’S JEWELS

Thursday through Saturday, October 24, 25, and 26, at 7:30 pm.

Saturday and Sunday, October 26 and 27, at 2 pm.

Dorothy Chandler Pavilion

135 North Grand Avenue, downtown Los Angeles.

*Arlene Croce, “A Balanchine Triptych,” in Writing in the Dark, Dancing in The New Yorker (New York: Farrar, Straus & Giroux, 2000), 449–456.

George Balanchine, Jewels, performed by the Mariinsky Ballet. Photographs, except above, by Natasha Razina. Above photograph by Svetlana Avvakum. Images courtesy and © the photographers, the dancers, and State Academic Mariinsky Theatre.