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☆ Review: Twyla Tharp From Three Sides Now
▼ + stars: | 2024-02-14 | by ( Siobhan Burke | ) www.nytimes.com time to read: +1 min

Twyla Tharp takes making dances very seriously but, at 82, she appears to be having some fun with it — and even poking fun at herself, lightly, in the process. That boisterous ballet closes a program that shows three sides of Tharp, beginning with the punchy “Ocean’s Motion” (1975) and continuing with “Brel,” an introspective new solo for the American Ballet Theater principal Herman Cornejo. (The New York City Ballet principal Daniel Ulbricht performs it on alternate nights.) While “The Ballet Master” concerns itself with the choreographer’s inner world, “Brel” zooms in on the dancer’s. Before any contemporary self-reflection, though, Tharp takes us back to where she’s been.

Persons: Twyla Tharp, Tharp, “ Brel, Herman Cornejo, Daniel Ulbricht, Brel, she’s, Chuck Berry, quintessentially Tharp, —, Miriam Gittens sassily, Jake Tribus Organizations: Joyce, American Ballet Theater, New York City Ballet

☆ ‘Kill B.’ Review: Dances of Dominance
▼ + stars: | 2024-02-11 | by ( Siobhan Burke | ) www.nytimes.com time to read: +1 min

The dancer Mia Zalukar lay collapsed on the stage of NYU Skirball, seemingly exhausted after a long solo — but she wasn’t doing it quite right. This is one of many such exchanges in “Kill B.,” a 2019 work by Isakovic and Zalukar that had its United States premiere on Friday evening as part of the Queer New York International Arts Festival. Organized by the Croatian curator Zvonimir Dobrovic, the festival features artists from Croatia, Canada, Argentina, Brazil and Germany exploring “what it is to be outside of the norm,” Dobrovic said in a curtain speech. He stressed that this outsider status is contextual; it might mean one thing in post-socialist Zagreb, another in São Paulo. Inspired by Quentin Tarantino’s “Kill Bill” movies, the decidedly brief “Kill B.” doesn’t evoke the bloody violence of the films (though there are some choice references) so much as the fraught director-actress relationship at their core.

Persons: Mia Zalukar, NYU Skirball, Bruno Isakovic, ”, Isakovic, Zvonimir Dobrovic, ” Dobrovic, —, Quentin Tarantino’s “, Bill ” Organizations: NYU, Queer New York International Arts Locations: “, States, Croatian, Croatia, Canada, Argentina, Brazil, Germany, Zagreb, São Paulo

☆ From Ballet to Blackjack, a Dance Pioneer’s Amazing Odyssey
▼ + stars: | 2024-02-04 | by ( Siobhan Burke | ) www.nytimes.com time to read: +1 min

Pictured in a publicity shot for the original production of “George Balanchine’s The Nutcracker,” in the role known as Tea, was a young Asian dancer identified as George Li. For Lin, a veteran newspaper reporter turned documentarian, the picture raised intriguing questions. In 1954, when the photo was taken, it was rare to see dancers of color on the stage of New York City Ballet, the company Balanchine co-founded. Who was this young man, this breaker of racial barriers, this pioneer? And if so, what was he up to?

Persons: George Lee, he’s, Lee, Jennifer Lin, George Balanchine’s, George Li, Lin, Balanchine Organizations: Four Queens, New York Public Library, Performing Arts, New York City Ballet Locations: Las Vegas, Casino, New

☆ Review: In These Dances, the Themes Are Lines and Curves
▼ + stars: | 2024-02-01 | by ( Siobhan Burke | ) www.nytimes.com time to read: +2 min

Since then, Fenley has returned to working quietly on new material, building on her nearly 50 years of making dances as the founder of Molissa Fenley and Company. Opening night, on Wednesday, felt like a private glimpse into her choreographic mind: no splashes, just a steady, rigorous exploration of movement to music. The program’s greatest force is Fenley herself, who, at 69, dances with a searing clarity and equanimity, no matter the limitations that naturally come with age. This is not one of those shows in which a veteran artist makes a cameo to be momentarily revered. The recurring themes are the lines and curves of Fenley’s limpid movement vocabulary, based in ballet and reminiscent of the Merce Cunningham technique, but developed, as she has said, around the idiosyncrasies of her own body.

Persons: Molissa Fenley, ”, Fenley, Christiana Axelsen, Justin Lynch, Timothy Ward, Michael Ferrara, Enriqueta, Merce Cunningham Locations: Downtown Brooklyn

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