The big kahuna of London dance, the temple, is Islington’s Sadler’s Wells Theatre. A place of entertainment for 300 years, dance became Sadler’s priority in 1928 when Old Vic manager Lilian Bayliss convinced Ninette de Valois to present the performances of what would eventually become the Royal Ballet (the English National and Birmingham Ballets started ...
The most interesting guy out there, an Israeli-born dance maker who came out of Ohad Naharin’s shop at Batsheva Dance Company. His “Violet Kid” took Cedar Lake Contemporary Ballet to another level. Read my review in the Los Angeles Times.
I’m a movement junkie. I like to watch the body in motion and I respond well to a lot of form and structure. I also like work that goes to the dark side. That’s why I’m so attracted to the choreography of the Israeli-born London-based Hofesh Shechter. His “Violet Kid” will be danced by Cedar ...
A very rich week in dance is upon us. Two strong young choreographic voices are contending across town, both are must viewing, indeed game changers, for the art form. Wednesday and Thursday nights, the Israeli-born, London-based, pants-on-fire Hofesh Shechter brings “Political Mother” to Royce Hall (huge thumbs up on that title, Hofesh). And the equally ...
Lyndsey Winship interviews Israeli born, London-based choreographer Hofesh Shechter, an ex-rocker, in Time Out London published today: Shechter has difficulty acknowledging his own success. ‘I’m experiencing failure daily,’ he says. ‘It’s difficult for me to connect to the idea that I’m successful. I can see it in the fact that my work tours all around ...
We’ve always imported major dance companies to L.A. In ye olden days, that meant New York City Ballet at the Greek Theater in Griffith Park. But now we go global. It worsens our nettlesome trade deficit. We buy more of their stuff and they don’t buy enough of ours. Our cocaine comes from South America; ...
The big event of a busy fall season has been the historic reconstruction of Anna Halprin‘s “Parades & Changes,” an influential landmark of postmodern dance dating from 1965-67 featuring a soundscore by electronic music pioneer Morton Subotnick. The piece builds on improvisation on a set of movement “scores” — a Halprin key word that she ...