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Steven Pisano

Pontus Lidberg: “On the Nature of Rabbits”

March 8, 2024

How the metaphor of rabbits fit into this was puzzling, yet the dreamlike (nightmarish?) rabbit imagery was the strongest visual idea and pervaded the work, from a toy stuffed bunny to grotesque rabbit masks the dancers wore throughout the show.  Perhaps the stuffed bunny was akin to the madeleine which Proust tasted, leading to a river of memories and Á la Recherche du Temps Perdu, the rabbit inducing Lidberg to ponder his childhood? [more]

This is not a time of peace

February 29, 2024

"This is not a time of peace" has a stream of consciousness feel effectively handled by the director Jerry Heymann. There is never any confusion about who is who and what they represent despite overlapping dialogue and quick segues from one era to the other. It is Cohn’s performance as Alina that is the strong spine of the play.  She opens and closes the play going from a matter-of-fact opening monologue to an impassioned closing statement, leaving the audience to empathize with her and comprehend all the frustrations she experiences. [more]

Twyla Tharp Dance: Winter Season 2024

February 20, 2024

Like her masterful Sinatra solo for Mikhail Baryshnikov, “Brel” takes Cornejo from a strolling meditating figure (“Quand On N’A Que l’Amour”) to an anguished lover (“Ne Me Quitte Pas”).  Cornejo twists and thrashes until the song “Amsterdam” had him gliding all over the stage.  The mood rises through “Les Marquises” and “Marieke,” matching Brel’s penchant for crescendo, leading Cornejo into jags of runs, leaps, turns and wilder gestures. Although not as immediate a success as her other ballets to songs, “Brel” will soon be a favorite of solo danseurs all over the ballet world. [more]

HopeBoykinDance: States of Hope

October 24, 2023

The spine of the work wasn’t the choreography or dancing, but the lines spoken by the dancers as they walked about the stage; however, since the lighting by Crawford was shadowy and the dancers wore head microphones—their voices projected via speakers—it was often difficult to see who was speaking.  Add to this the fact that the performers weren’t the best actors and this all important text became just as shadowy as the lighting (which, to be fair, had a moment or two of brightness and color). [more]

Evelyn Brown (A Diary)

May 27, 2023

While the painstaking entry upon entry yearn to be something of import, we can’t help but feel it takes a certain steadfastness and desperate commitment to make the banal seem so extraordinary. This is where the brilliant attack of performance by Ms. Lauren as Evelyn, and Violeta Picayo as Evelyn Brown, come into play. Ms. Picayo can be thought of as the younger Evelyn, but the fact is they are both the same person usually on the stage at the same time, experiencing the same ennui. Ms. Lauren is the human map of a sometime wordless exploration of isolation. There is nothing secretive about it. We are witnesses to every one of her emotions as it makes its way across her face and into her beaten down yet stalwart physical life. Ms. Picayo sometimes has that innocent wide-eyed wonder that gets her through to the end of a scene, making us pity her for her stiff upper lip and beatific smile in the face of a life not well-lived. [more]

Lady in the Dark

January 31, 2023

Unfortunately, this is musical comedy and does not need operatic voices, Lawrence being famously a singer with a very small range, while Kaye came from cabaret and night club. With all of the leads double cast, Sunday matinee’s singers seemed either miscast or poorly directed by Eric Lamp and Benjamin Spierman. Matthew Imhoff’s sets which are carried on and off by the singers took an inordinately long time and there were moments of dead time during office scenes which also seemed underpopulated. While conductor and artistic director Michael Spierman gave a creditable performance of the complete score, it did not seem to hang together but felt like individual numbers, unlike many other Weill scores which feel integrated and whole. [more]

Four Saints in Three Acts

September 21, 2022

Greenspan isn’t always totally clear when switching points of view, but made up for this by turning the entire, long script into a wonderland of gestures, vocalizations, postures and movements.  His eyes and his hands are masterful communicators.  His lean body’s dancelike movements add dimension to the onslaught of words.  This is a performance that must be seen to appreciate how mindboggling his accomplishment is. [more]

The Sarasota Ballet 2022

August 19, 2022

The second Ashton ballet was "Varii Capricci," his clever take on Bronislava Nijinska’s "Les Biches" from 1924.  Her ballet was a tongue-in-cheek comment on the sexually liberated, chic young people of France.  Ashton set Varii to a witty score by Sir William Walton. La Capricciosa (a delightfully languid Danielle Brown, arrayed in Ossie Clark’s diaphanous white dress) is wooed by a gigolo, Lo Straniero (a hilarious, oily Ricardo Rhodes) whose intentions were clearly not honorable. These two were surrounded by a giddy ensemble that gamboled about watching them romantically self-destruct. "Varii Capricci" is light-hearted and lightweight, but impeccably presented. [more]

Paul Taylor Dance Company 2022

June 17, 2022

The new work on the program, a world premiere, was “Hope Is the Thing with Feathers” by Michelle Manzanales, choreographed to John Lennon & Paul McCartney, Bob Marley, Harry Woods and several others.  Using ten of the Taylor dancers, Manzanales produced a work that was charming if a tad repetitious.  Santo Loquasto’s pale costumes had an elegantly informal look. The dancers trooped on in a long line performing unison steps, lunges, leans and twists until movements moved sequentially down the line, mostly soft falls to the stage.  In between these unison sections there were jaunty solos and quick duets that segued into group dances.  The pop song soundtrack underlined the work’s informal feel.  Manzanales certainly put the dancers through their paces.  There’s nothing more appealing to an audience than a line of performers dancing their hearts out in unison! Her work shows promise but also is clearly the work of a novice.  What the ballet had to do with the Emily Dickinson poem it came from wasn’t clear. [more]

The Garden of the Finzi-Continis

January 31, 2022

While Gordon has said in interviews that his model for the music was Puccini, in fact, the atonal orchestral score sounds more like operas by Gian Carlo Menotti, Carlisle Floyd and Dominick Argento. The singers are usually so loud that they tend to drown out the orchestra which is playing something different than the vocal score. Placed on the far right of the stage, the orchestra plays to the side wall muffling the sound. The orchestral score suggests background music for a film rather than music for the opera house. On paper, Korie’s text reads fairly well; however, in performance the singers are punching his rhymed couplets so hard that they seem a mistaken intrusion. At almost three hours, "The Garden of the Finzi-Continis" feels overwritten though episodes have been left out of the original novel. In the libretto provided to the press in advance, Alberto’s story deviates from that of the novel, but on opening night this was changed back to the book’s ending. [more]

Parsons Dance: Fall 2021 Season

December 10, 2021

Parsons’ first work on the program was the tour de force solo “Balance of Power” performed by the phenomenal Zoey Anderson.  Clad in Barbara Erin Delo’s brilliantly colored tight costume—the bright red left sleeve particularly inventive—Anderson first appeared upside down in a golden spotlight. (Lighting by Chambers.) As she turned right side up, she began undulating to Giancarlo De Trizio’s sparkling score, her body reacting to every nuance of the quite rhythmic music.  Parsons unloaded hundreds of difficult tiny movements on her which she performed with skill and allure, stopping the show with her quickness and sensuality. [more]

Michael Mao Dance 2019

May 31, 2019

Michael Mao Dance is celebrating 26 years of presenting Mao’s work and if his recent program at the Ailey Citigroup Theater is any evidence, there is reason to believe he will continue for another 26 years.  His works are varied, yet clearly come from the mind of the same artist. [more]

Half Moon Bay (2016)

May 29, 2016

That’s the familiar set up of author Dan Moyer’s engaging contemporary romantic comedy of the two-character "Half Moon Bay." As Mr. Moyer’s lost souls get to know each other, personal secrets are revealed. These revelations are sometimes dark but never seem like gratuitous theatrical gimmicks. Just the believable problems that real people could have. Moyer’s excellent dialogue contains so many sharp and wise lines that precisely delineate the characters. A great asset is that they’re spoken by two gifted actors who effortlessly make it appear as though that the play was written just for them. [more]