After a lifetime as a lighting designer for theater and dance, much of it working with gels, she received this honor: “There was a color that was named after me. They don’t make it anymore.” And thus the whirligig of time brings in his revenges. Presented with the Paul Taylor Dance Company. Continue reading »
Category Archives: Dance
554: Ron Brown, Arcell Cabuag
Brown, the founder of Evidence, a dance company, says, “You’ll see yourself on stage.” I hope he’s speaking figuratively. Cabuag, its associate artistic director agrees. Presumably. How else has the company flourished for forty years? A conversation at the Billie Holiday Theatre, where they’ll perform on November 14 and 15. Continue reading »
537: Michael Novak
The artistic director of the Paul Taylor Dance Company summarizes his aesthetic: “The curtain goes up, twenty minutes happen, the curtain comes down, and it is transformative.” Easy to say, brilliant to achieve. And they do. Continue reading »
508: Ashley Wheater, Denise Jackson
“We do bare feet, we do singing, we do dancing, we do point shoes,” declares the Joffrey’s artistic director. “The company combines techniques of ballet and modern,” explains this former Joffrey dancer at the New York Public Library for the Performing Arts. Range! Continue reading »
490: Elizabeth Streb
“I don’t like dance,” says this choreographer, “but we saw the bull riders at Madison Square Garden and, boy, I really wanted to get on that bull.” Her combination of disdain and desire results in exciting and surprising—I hesitate to say “dance” lest I incur her scorn— “organized movement.” Continue reading »
488: Eduardo Vilaro
“I am Juan de Pareja,” says this choreographer (center) about the subject of his new piece, the Afro-Spanish painter enslaved by Velázquez. Multiple personalities? No. One artist fascinated by the life of another. We celebrate Vilaro’s fifteen years as artistic director of Ballet Hispánico. Music: Ahmed Alom (left). Continue reading »
358: Karen Krolak
To experience art does not mean to contemplate an immutable exquisite object, but to cultivate a relationship, says this dancer/choreographer. “It’s similar to what you get from long-term friendships or marriage or family.” Maybe not my family, but I see what she means. Introduced by Ralph Farris, violist in the quartet Ethel, and creator of … Continue reading »
336: Annie-B Parson
She’s choreographed for everyone from Mikhail Baryshnikov to David Byrne. So where does she get her ideas? “I always loved this quote by Rousseau; he said, ‘My mind only works with my legs.’ Me too! When I am stuck, I just take a walk, and something unlatches.” Movement creates thought; thought creates movement. Photo by … Continue reading »
334: Mark Morris
He calls himself “a full-on, born-again atheist,” and yet this dancer and choreographer approaches his work reverently, in part as a quest for transcendence, honoring this ecumenical doctrine: “Most religions agree with don’t kill anybody, and I agree with that.” A conversation about classical Indian dance, modern American music, and the greatest cooking utensil of … Continue reading »
303: Wendy Whelan
She’s been with the New York City Ballet for 30 years, rising from apprentice to principal to associate artistic director. “When I moved to New York at 15, by myself, I moved into Jacques d’Amboise’s home. He rented the third floor of his brownstone to four young ballet students.” The world’s coolest boarding house. I … Continue reading »
Episode 285: Jacques D’Amboise & Daniel Ulbricht
Two generations of New York City Ballet luminaries. The latter is currently a soloist and principal; the former joined that company nearly 70 years ago as a Balanchine protégé and went on to found the National Dance Institute. Music from Jerry Korman, music director of the NDI, and Susan Walters. Continue reading »
Episode 281: David Neumann
The choreographer of Hadestown and an all-around theater guy, he grew up in a house designed by his father – not an architect, a member of Mabou Mines. “It pointed me toward a creative proces which is partially planned and partially improvised.” And away from the words “beneath a heap of rubble.” A conversation at the Baryshnikov … Continue reading »