Dance
Jamie Kirsch describes Les Noces as “a non-stop, energetic, tour-de-force ride that lasts 25 minutes without a break and leaves you breathless by the end.”
Contemporary dance has no useful definition; maybe we could think of it as an attitude, a constantly changing venture.
Two 20th century gems bracketed the evening, and all four works showed how the ballet idiom can serve and be served by classical music.
I wondered why the Elders Ensemble program so consistently portrayed the elders as somber and withdrawn.
MOMIX proffers something for everyone: acrobatics, dance, theatre, and delightful visual deception.
The three choreographers used the streams of sound as an opportunity to provide floods of movement challenges to the terrific dancers of the company.
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.
“It takes a special choreographer to make audiences laugh, reflect, and empathize.”
Moses(es) has many layers of metaphor and suggestion, but the surface is always visually intriguing, musically imaginative
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