Rachel Straus - Dance Writer

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Juilliard Dance

 
Published: January 31, 2017
Category: review

Israeli Dance Troupe L-E-V Is OCD

By Rachel Straus, MusicalAmerica.com The 10-year-old Israeli troupe L-E-V takes its name from a word that can be translated as “heart.” Which is ironic, for in the group’s OCD Love (2015), six dancers’ hearts appear mangled, like partially melted pieces of corrugated iron. Created by L-E-V co-founders choreographer Sharon Eyal and the multi-media artist Gai []

Published: November 28, 2016
Category: review

Nederlands Dancers Mostly Outshine Choreography

By Rachel Straus A roar of approval from the sold-out crowd greeted the four marvelous Nederlands Dans Theater performers following Crystal Pite’s The Statement (2016), seen in its local premiere at New York City Center on Nov. 18. Pite has been the associate choreographer of NDT since 2008. The roots of her movement style stem []

Published: November 8, 2016
Category: review

Mark Morris Offers Gems of India, and Brooklyn Too

By Rachel Straus for MusicalAmerica.com November 8, 2016 As the curator of the White Lights Festival’s “Sounds of India” series, choreographer Mark Morris brought his company to the Gerald W. Lynch Theater, in a gem-like program that illuminated his own, personal relationship with India. In 1981, Morris toured that country as a performer with Laura []

Published: October 20, 2016
Category: review

Fall for Dance Offers a Grand, International Finale

By Rachel Straus, MusicalAmerica.com October 20, 2016

Shantala Shivalingappa. Photo by Hector Perez

There is a popular saying that “dance is a universal language.” This statement raises eyebrows among dance anthropologists. They argue that dance is a language, like any other, and it needs to be studied in order to be understood. That argument []

Published: May 31, 2016
Category: review

ABT's Symposium Raises Ratmansky's Bar Even Higher

By Rachel Straus NEW YORK—The American Ballet Theatre, now at the Metropolitan Opera House to July 2, is devoting entire evenings to the choreography of Alexei Ratmansky, its artist-in-residence since 2009 and arguably the most revered ballet maker of the decade. With the premiere of his Serenade after Plato’s Symposium, set to and named after []

Published: April 21, 2016
Category: review

Miami City Ballet Gets it Right. Mostly

By Rachel Straus NEW YORK–Miami City Ballet’s gala opening night (April 13), presented by the Joyce Theater at the former New York State Theater, offered what gala opening nights should offer: A taste of a company’s new and old repertoire, a best-foot-forward presentation of its stars and corps, and programming that leaves one hungry for []

Published: April 17, 2016
Category: review

90 Years of the Martha Graham Dance Company

By Rachel Straus The Martha Graham Dance Company’s 90th anniversary season (April 14-18) at New York City Center opened with Graham’s Night Journey (1947) and closed with her Cave of the Heart (1946). In between these masterworks, about Greek tragedy heroines, was a world premiere by the experimentalist Marie Chouinard and the last proscenium work []

Published: April 5, 2016
Category: review

Paul Taylor Dancers Successfully Complete Extended Marathon

By Rachel Straus NEW YORK–In its fourth season at the former New York State Theater and its second under a new name, Paul Taylor’s American Modern Dance completed its marathon three-week run April 3. One of the last full-time troupes presenting a mid-20th century modern dance ethos, PTAMD dancers deserve medals for stamina. They achieved []

Published: March 4, 2016
Category: review

Pacific Northwest Ballet's Stunning Emergence

By Rachel Straus NEW YORK–Pacific Northwest Ballet’s most intriguing work on its “Contemporary Innovators” program at New York City Center was Crystal Pite’s Emergence. Made in 2009 for the National Ballet of Canada, wonderfully performed by 37 PNB dancers, and set to a dark, pulsing electronic score by Owen Belton, the ballet is a rarity. []

Published: February 5, 2016
Category: review

At BAM: A Trisha Brown Masterwork, Perhaps for the Last Time

By Rachel Straus NEW YORK–In 1983 the Brooklyn Academy of Music launched the Next Wave Festival and commissioned the avant-garde choreographer Trisha Brown to make Set and Reset. Last week, the masterwork returned to BAM. With a score by Laurie Anderson titled Long Time No See (after its electronically sequenced lyrics), and sets by Robert []