Posts by Janice Steinberg
Malashock, Griffin Choreograph Hope
Two “tribes”—one dressed in brown, the other in green—exchange wary glances. Using wooden cubes, they stake out their territory and line up, facing off. Yet, a moment later, a man ventures out from the four-person greens, a woman from the browns. To music with a waltz tempo, they explore lyrical partnering.
How do we respond to someone we perceive as “other?” With curiosity or fear?
Read MoreLive Dance at Liberty Station!
I’m excited to go anywhere these days, but a live dance show! My first in more than a year! In fact, it’s a festival—four weekends of performances by the resident companies at Dance Place! Declarations of “I’m vaccinated” were followed by hugs! I may end every sentence with an exclamation point!
Read MoreWho Cares? Everyone—City Ballet’s “Balanchine and More”
City Ballet of San Diego opened its “Balanchine and More” with “Who Cares?,” George Balanchine’s 1970 ballet set to nine Gershwin tunes. Lighthearted and flirty, the piece was a delicious kickoff for a program demonstrating the extraordinary care that has made City Ballet a stellar company whose dancers gobble up challenging repertory … and do it to a live orchestra.
Read MoreIn “5 Soldiers,” 5 Dancers Offer Gripping Take on Military Life
“5 Soldiers” takes place at the White Box Theater at Liberty Station. The intimate space is ideal for Rosie Kay’s intimate, intense take on soldiers training, living, and ultimately risking their lives together. It’s ideal, as well, given Liberty Station’s history as a Naval training facility and whatever psychic resonance from those eager, scared, brave young sailors lingers in the walls. And it’s running here for two more nights. Go!
Read MoreA.I.M Offers a Bonus: A Performance by Kyle Abraham
Kyle Abraham took us in his arms and invited us in with three intimate pieces danced by his superb A.I.M (Abraham.In.Motion) company at the Balboa Theatre on Thursday. Then, before anyone could get too comfortable, he ignited the stage with the propulsive, hip hop-flavored “Drive.” The program also offered a rare treat: Abraham himself, filling in—in “The Quiet Dance”—for a company member who couldn’t perform that night.
Read MoreEvocative, Transcendent Dance from Jean Isaacs San Diego Dance Theater
A man sinks to his knees, one hand rising from his chest as if he’s pulling his heart out. It’s a beautifully evocative gesture in a dance filled with such images—“Crossroads,” a premiere by Terry Wilson that opened last weekend’s performance by Jean Isaacs San Diego Dance Theater. It was one of Isaacs’ best-ever.
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