Wonderfully ambitious, if over-reaching, David Roussève/REALITY’s “Halfway to Dawn” is a sort of dance-biography of jazz great Billy Strayhorn. Celebratory, abandoned dancing to Strayhorn tunes evokes the gaiety of African-American jazz clubs in the 1940s; but this complex piece also conveys an underlying loneliness.
Bravo to City Ballet for its dedication to fine ballet and live music to enrich the experience. When the dancers stepped forward for bows, they were dressed in their costume of the calendar, a mix of fabrics and styles, and an energized audience applauded with gusto, and in equal measure for the City Ballet Orchestra and soloists…
John Malashock’s latest show, “Eye of the Beholder,” is a collection of 14 pieces, most of them duets. The whole thing runs for about an hour, which works out to about four minutes per dance—about the length of numbers on “So You Think You Can Dance.” The effect was like nibbling a lot of hors d’oeuvres at a cocktail party. It’s all tasty, but at the end, you’re still hungry for dinner.
“Eye of the Beholder” nonetheless offered some delectable bites: acrobatic partnering and well-drawn sketches exploring a range of emotions.
The San Diego dance scene is exploding with shows featuring modern, hip hop, jook, and ballet, and some are beautiful hybrids. The premiere of “Beyond Babel” and Wynton Marsalis’ “Spaces” are examples of Urban and Jook ballets that mark a change in acceptance and expectation…
Their YouTube videos may have over 1.5 billion views, but Keone and Mari Madrid don’t mind playing a 120-seat theater to share their artistic vision in “Beyond Babel,” a hip hop “Romeo and Juliet.” Their tender partnering shows how meltingly smooth their West Coast Urban style can be.