Claude Lelouch on the friendship in “We Love You, You Bastard” 1
French film director Claude Lelouch, whose seventh film, A Man and a Woman (1966), catapulted an international career, persists in his cinematic exploration of the perils of the human heart — not just in love but in friendship. LeLouch’s 44th feature, “We Love You, You Bastard,” which opened the 18th annual COLCOA French film festival ...
Savion Glover, sole survivor
I’ve been paying attention to Savion Glover since he incandesced onto the theatre scene in The Tap Dance Kid at age 12. His level of virtuosity, enhanced by a cheeky grin and genuine joy at being up there just doin’ it! as impossible to resist as a warm sunny day (I live in London, remember). ...
Weaving magic to the Bard: The Royal Ballet in “The Winter’s Tale”
I don’t get to Covent Garden all that often lately. Downstairs to the Linbury Studio experiments, yes, but upstairs? Elegant always, but stately for my current tastes — my dance fix is generally fed by Sadlers Wells these days. Last season’s Royal Ballet encounter with Mayerling — my favorite narrative by far — had been ...
A doctor in the house: Doc Severinsen @ Valley Performing Arts Center 2
That Doc Severinsen is a natty dresser is well known. But when he hit the stage of the Valley Performing Arts Center Friday night clad in orange shirt, red pants and a blue, sequined paisley jacket, it took several moments for the rich visual effect to sink in. With unabated high energy, the 86-year-old trumpeter, ...
Flirting with Fascism, Sinatra: ENO’s Rodelinda
I’d been away from London, in New York, for Rodelinda’s Coliseum premiere but heard such good things about it that I arranged for one of its last performances and am so glad I did. Beyond the grace of Handel’s music conducted by baroque specialist Christopher Curnyn and played with usual panache by a reduced English ...
Review: Danielle Agami’s “EXHIBITa” @ Celebrate Dance 2
Think of a Robert Crumb cartoon strip — in all its gnarly, grotesque glory. That roughly equates to watching the weird and wonderful foot-parade choreographer Danielle Agami sent across the Alex Theatre stage last night at the ninth annual “Celebrate Dance.” Agami’s “EXHIBITa,” chock-filled with witty movement invention in its Los Angeles premiere, offered the ...
Guilty pleasure? No, guitar pleasure from masters Gismonti, Towner
I was needing to hear some music but the last days before trans-Atlantic travel were beyond hectic. Nothing was fitting. Couldn’t get over to the Coliseum for an opera opening; despite all desire couldn’t fit in that last Vengerov, but the soul was saying “You gots to do something..” Egberto Gismonti at the Barbican. How ...
Getting back to Ballet Black
Now in its 13th shoestring-budgeted season Ballet Black’s chamber ballet company of eight has a reputation of performing far beyond its weight class. Its current mixed program, performed at Linbury Studio Theatre of the Royal Opera House, continues in kind. The creation of young Trinidadian-British Cassa Pancho to provide role models to aspiring young dancers ...
L.A. Dance Project reinvigorates United Artists movie palace 2
Just “yes” to Benjamin Millepied‘s wonderful, calm and engaging “Reflections,” the opening work of L.A. Dance Project‘s “3 Exceptional Performances” program on view in downtown Los Angeles throughout the weekend. More a linked chain of body-conversations than a highly kinetic dance work, “Reflections” (more unmemorable dance-titling from Millepied, the prior, “Moving Parts”), with its strong ...
Review: The Hamburg Ballet in “Liliom” at Segerstrom Hall
All elements converged for John Neumeier’s “Liliom,” a two-act narrative ballet presented Saturday night by the choreographer’s stellar company of 38 years, The Hamburg Ballet. The revisiting of Hungarian playwright Ferenc Molnar’s play, adopted by Rodgers & Hammerstein as “Carousel” in 1945, packed much visceral pleasure and emotional punch into one evening at Segerstrom Hall. ...