The National Ballet turns up the heat for Luminato with a double billing of the sensual Skin Divers and Carmen, where there’s no shortage of exposed muscle, making out and ballerinas gone bad. The two productions complete their run this weekend. (1)
BY Karon Liu
It’s rather morbid yet poetic that, for principal Chan Hon Goh’s final show with the National Ballet Company after 20 years, she would be playing the title role of Giselle, a girl driven to madness...
Choreographed by the late, great John Cranko, this production originally premiered at the Stuttgart Ballet in Germany and has been performed by the NBC since 1964. Consider it a fail-safe...
While artistic director Karen Kain has given three of the country’s most promising choreographers free reign to create a short, original piece with her National Ballet of Canada, it seems only one...
When composer Aaron Copland wrote Appalachian Spring at the request of renowned choreographer Martha Graham in the 1940s, Graham listened to the score and then, much to Copland’s surprise, rewrote the libretto she had originally given him — Copland’s music...
Still highly regarded for her long-standing collaborations with Robert LePage, Marie Brassard is also a consummate solo writer-performer.
Choreographer Crystal Pite makes connections between movement and combat — lest we forget (1)
A show of firsts, Radio Play takes a unique look at the realm of performance, combining the strengths of cultivated dance artists Denise Clarke and Peggy Baker with, as Baker puts it, “the acting finesse” of Michael Healey.
Is there a more damning accolade than enfant terrible — and in the context of contemporary dance no less, in which it evokes think-y, easily parodied musings on sex and relationships? (1)
“There’s a huge dance component at the Montreal Fringe,” says Helen Simard of Solid State Breakdance. “I’d say it’s almost 30 per cent of the festival.”