Dance
One of the reasons audiences and funders love Kyle Abraham’s work is that the layered landscapes of his dances resonate with the fraught conditions outside the theatre.
Doug Elkins’ take on Othello is entirely of our era, when domestic abuse is finally a public discussion and a complex story of betrayal can be conveyed with pop culture efficiency.
In red gloves and dark glasses, popping and locking, the Wondertwins are both imposing humans and robotic objects, organic and mechanical reproduction.
Mark Morris’ choreography for his 18-member ensemble alternates between joyful ring-around-the-rosy and contra dance circles.
Carrying cacti around the stage in boxes and placing them on their heads and in predictably suggestive positions, the Boston Ballet dancers looked like they were having a blast
“The Shape She Makes” proffers an eloquent fusion of language and movement that pushes the boundaries of dance and theater without embracing the opaqueness that marks so many experimental productions.
Boston Ballet is showcasing a number of its ballerinas in the title role of Cinderella.
Surrounded by the gilded ornamentation of the Boston Opera house, the three minimalist pieces that make up “Close to Chuck” could not be any more of a contrast.
Dance Commentary: Learn to Love Something By Doing It, or How I joined Le Grand Continental and Discovered the World of Dance
I hope thousands of people show up to see Le Grand Continental-Boston next weekend. Not to see me, but to see how dance can change the way we appreciate our world.
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