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☆ Alina Cojocaru: A Freelance Ballerina, Forging Her Own Path
▼ + stars: | 2024-01-13 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: +1 min

Ballerinas like Sylvie Guillem, Diana Vishneva and Natalia Osipova have also pursued independent paths but turned mainly to contemporary work. Dancers today are phenomenal, even better than when I began, and apart from myself, I wanted to create opportunities. The experience of being a freelance dancer during the pandemic, and not being protected by a company, made me realize I would like to do something for other freelancers. I was pregnant with my second daughter, Ella, and I had to deal with other people’s decisions and choose another path. I have seen what works, what doesn’t, the director’s point of view, the dancers’ points of view.

Persons: Sylvie Guillem, Diana Vishneva, Natalia Osipova, Ella Organizations: Ballet

☆ Imagining Worlds That Don’t Exist
▼ + stars: | 2023-11-15 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: 1 min

Es Devlin, the scenic designer, in her London studio with the “hand map” she drew for the Serpentine Galleries’ “Back to Earth” exhibition after observing London’s most endangered birds, bats, fish, fungi, plants and mammals. A version is at the Cooper Hewitt, Smithsonian Design Museum in New York. Credit... Kalpesh Lathigra for The New York Times

Persons: Es, Cooper Hewitt, Kalpesh Organizations: Smithsonian Design, Credit, The New York Locations: New York

☆ Alessandra Ferri’s Next Act: Running the Vienna State Ballet
▼ + stars: | 2023-10-27 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: +1 min

The ballerina Alessandra Ferri has had many dance lives. On Tuesday, the Vienna State Ballet announced that Ferri, a former principal dancer with American Ballet Theater, would be its next artistic director, succeeding Martin Schläpfer when his contract ends in August. “It does feel to me like a natural progression.”Ferri will have a big job in Vienna. The 102-dancer company gives around 80 performances a year of its own repertory at both the Vienna State Opera and the Volksoper theaters, as well as appearing in opera productions. And Ferri’s job will also include running the affiliated Ballet Academy, which was hit by allegations of abuse in 2019.

Persons: Alessandra Ferri, Ferri, Martin Schläpfer, Martha Clarke, Lars Lubovitch, Wayne McGregor’s “, ”, Juliet, “ Romeo, ” Ferri Organizations: Vienna State Ballet, Ballet, Spoleto, Ballet Theater, Vienna State Opera, Ballet Academy Locations: Italian, Italy, London, Vienna

☆ Sasha Waltz’s Dance Company: 30 Years of Giving Form to Feeling
▼ + stars: | 2023-09-01 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: +1 min

The chance to have 13 dancers under contract, workshops to make sets and the possibility of large-scale productions. Yes, I was trying to create movement that was about larger choreographic forms, constellations of bodies in organic formations. After leaving the Schaubühne in 2005 you started to work with opera and ballet companies. There was a decision not to do that, so I did “Dido and Aeneas” with the Akademie für Alte Musik. I could create one big artwork, not divide singers, dancers, orchestra; that was very inspiring for me.

Persons: Dido, Aeneas ”

☆ Can She Revive the Largest Museum on the African Continent?
▼ + stars: | 2023-08-15 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: +3 min

Kouoh said that she decided to take the job after many conversations with Black colleagues. Kouoh has changed “how the local community see Zeitz,” said the Cape Town-based artist Igshaan Adams, who recently spent eight months in residence there. What influences come from an artist like Issa Samb or Gerard Sekoto to younger artists today? “There is a lot of mutual support, of generosity and care across the continent. I am part of that generation of African art professionals who have pride and knowledge about the beauty of African culture, which has often been defined by others in so many wrong ways.

Persons: Kouoh, Black, ”, Zeitz, William Kentridge, Carsten Holler, Wangechi, Igshaan Adams, “, Koyo, — Tracey Rose, Johannes Phokela, Mary Evans —, Issa Samb, Gerard Sekoto, haven’t, won’t, Okwui Enwezor Locations: Zeitz

☆ David Hallberg’s New Job: Decision Maker
▼ + stars: | 2023-08-01 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: +1 min

One of the biggest adjustments for me was how everyone looks to you for decision making about even very minor things. I always want things to be collaborative, and often people don’t want that — they want you to lead. The other big thing was trying to balance my time and learning what and how to prioritize. Part of your job involves talking to artists who can feel vulnerable and anxious about their careers. When we are having difficult conversations, I want them to feel they are getting an honest answer, not just being calmed down.

Locations: New York

☆ Pina Bausch’s Dance Company Announces Steps Toward a New Era
▼ + stars: | 2023-06-16 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: +2 min

“That,” Charmatz said, “was the first smell of what the next season, and my work here, will be.”His task isn’t easy. In the years immediately after Bausch’s death, the company was run by the longtime Wuppertal dancer Dominique Mercy and the rehearsal director Robert Sturm; they were succeeded in 2013 by another veteran dancer, Lutz Förster. “I was prepared to say no,” said Charmatz, who was initially approached by a search committee. We are going to do it together.”The 2023-24 season opens in September with Charmatz’s new “Liberté Cathédrale,” performed at a 1968 Brutalist church in Neviges, north of Wuppertal. That piece will be followed in November by a triple bill, “Club Amour,” which combines Charmatz’s “Aatt enen tionon” and “herses, duo” with Bausch’s “Café Müller.”

Persons: ” Charmatz, Bausch’s “, “, Dominique Mercy, Robert Sturm, Lutz Förster, Adolphe Binder, Bausch, Binder, ”, Charmatz, “ herses Organizations: Manchester International, Bausch’s “ Palermo Palermo ”, Tanztheater Locations: Bausch’s, Wuppertal, Tanztheater Wuppertal, Neviges

☆ Juliet Stevenson Returns to ‘The Doctor,’ and the New York Stage
▼ + stars: | 2023-06-13 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: +1 min

At the start of Robert Icke’s “The Doctor,” the actress Juliet Stevenson stands alone in a spotlight onstage. I’m a doctor.”As the play’s title character, a grammatically exacting neurosurgeon named Ruth Wolff, Stevenson will repeat those last two phrases many times as events unfold and Ruth’s clarity and intellectual certainties erode. Eventually they will transmute into something far more inchoate as her life unravels, and self-doubt begins to permeate her conviction that being a doctor is all that matters. In Icke’s version, the issues go beyond questions of medical ethics and religious affiliations to include identity politics and cancel culture. The play, and Stevenson, received rave reviews when “The Doctor” was first presented in 2019 at London’s Almeida Theater, where Icke was then the artistic director, and later after it transferred to the West End.

Persons: Robert Icke’s “, Juliet Stevenson, “, Ruth Wolff, Stevenson, unravels, Arthur Schnitzler’s, Bernhardi, ”, Icke, ” Michael Billington Organizations: Roman Catholic, London’s, Guardian Locations: New York, obduracy

☆ What Makes a Great Performance? Backstage Drama, That’s What.
▼ + stars: | 2023-06-02 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: 1 min

“The classicist who wants to be modern, meeting the modernist who wants to be classical.” So says Elizabeth Taylor, summing up the fractious encounter between the revered Shakespearian actor John Gielgud, and her new husband, the actor Richard Burton. It’s 1964, Taylor and Burton are the most famous couple in the world, and Burton is rehearsing the role of Hamlet for a Broadway production that Gielgud is directing. It’s not going well. That’s the setting for “The Motive and the Cue,” a new play directed by Sam Mendes, written by Jack Thorne, and starring Mark Gatiss as Gielgud, Johnny Flynn as Burton and Tuppence Middleton as Taylor. The play, which opened to enthusiastic reviews in May and runs through July 15 at the National Theater, in London, was an idea born out of the pandemic, said Caro Newling, a co-founder with Mendes of Neal Street Productions, which developed the show.

Persons: Elizabeth Taylor, John Gielgud, Richard Burton, It’s, Taylor, Burton, Gielgud, Sam Mendes, Jack Thorne, Mark Gatiss, Johnny Flynn, Tuppence Middleton, Caro Newling, Mendes, Neal Organizations: National Theater, Neal Street Productions Locations: London

☆ ‘Like He Was Going to Live Forever’: Making Jerome Robbins’s Last Ballet
▼ + stars: | 2023-05-06 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: +1 min

Jerome Robbins wasn’t feeling well in winter 1995. He had created “West Side Story Suite” — a condensed adaptation of his 1957 hit Broadway musical — for New York City Ballet earlier that year and started work on a new pas de deux with two principal dancers, Lourdes Lopez and Nikolaj Hübbe. Nonetheless, he continued to work with City Ballet on a new dance over the next two years. The 40-minute dance offered a bucolic idyll — a playful, youthful group, sporting with charm and what looks like spontaneity. The reviews were enthusiastic — “Choreographically, he has outdone himself here,” Anna Kisselgoff wrote in The New York Times — as were audiences.

☆ Chris Wheeldon’s ‘Dangerous and Exciting’ Adventure at City Ballet
▼ + stars: | 2023-05-03 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: +1 min

“There is an ambiguity about non-narrative work that feels both dangerous and exciting,” he said, “especially working the way I do — going into a room with the music and allowing whatever lies beneath to emerge. Nonetheless, Wheeldon said, he had been ambivalent about using the music. “I’ve been a bit frightened of it,” he said. “In parts it’s torturously beautiful and intensely romantic, with an underlying uneasiness to the romance. Even though it has five movements, there is no definition between them, so it feels like a long poem, and structurally that’s hard.”

☆ Benjamin Millepied Uses Movement to Reinvent ‘Carmen’ on Camera
▼ + stars: | 2023-04-21 | by ( Roslyn Sulcas | ) www.nytimes.com time to read: +2 min

For IndieWire, David Ehrlich wrote: “‘Carmen’ is stretched across a few too many borders to ever feel like it’s standing on solid ground. “It’s an unsteady composition, a frenzied combination of willowy movement pieces, an ecstatic score and a too-loose narrative,” Lovia Gyarkye wrote in The Hollywood Reporter. Over coffee, Millepied discussed the critical reaction to the film, the allure of “Carmen” and working with actors. Early on, when I was starting to think about the story, I had dinner with [the director] Peter Sellars and mentioned I wanted to make a “Carmen” film. He got kind of passionate, and said, “You have to reinvent it, it’s a terrible story.” I thought he was right.

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