Two 20th century gems bracketed the evening, and all four works showed how the ballet idiom can serve and be served by classical music.
Marcia B. Siegel
I wondered why the Elders Ensemble program so consistently portrayed the elders as somber and withdrawn.
RUBBERBANDance shares some elements of the new-circus genre: a set of very specialized and spectacular physical skills, and the idea that although circusy movement can bombard the audience with thrills, it can also imply human relationships.
Featuring seven short dances by stellar choreographers of contemporary dance, the Harvard Dance Center’s spring program promised some rare enlightenment.
Moses(es) has many layers of metaphor and suggestion, but the surface is always visually intriguing, musically imaginative
There was more than one reference to Alvin Ailey himself in Odetta, recalling Ailey’s frequent use of a female protagonist and his choices of other noted black artists as inspiration.
Since joining the Dance Complex as executive director nearly two years ago, Peter DiMuro has been committed to widening the niche-bound notion of dance.
Minimalism doesn’t make narrative or emotional demands. It shows you a surface, and if there’s anything below the surface, you draw your own conclusions.
What I didn’t see opening night was passion. The characters, all living on the edge of respectability, are comfortable in their own world, but as individuals most of them don’t assert themselves.
Gumshoes in Tap Shoes, a dance noir with ’60s big-band music from the likes of Henry Mancini, is an ambitious project.