When they realized that the ship with their costumes and sets was still somewhere in the Atlantic, they ran out to a mall in Dallas, their first U.S. stop, and bought what they needed to stage three less elaborate pieces. The French company didn’t disappoint … though gray buckets, used a makeshift props in one dance, suggested that after the show, they were going to do some spackling.
When we had to do a movement phrase crossing the floor, I started to think that being onstage was a very bad idea. This year’s Live Arts Fest offered not just a look at dance legacies, but actual somatic experience. Plus a lesson that choreographers age incredibly well … Bella Lewitzky started her company at 50 and led it for 30 years; and Robert Cohan, whom the little festival that could brought from London, showed a fresh new work he’d created at 90.
Gaga. Opera. A foot-stomping dance-off with tap, flamenco, and Bharata Natyam artists shaking the floor. The PGK Dance Project’s “San Diego Dances” kept the thrills coming. The excitement began with the venue …
The Spreckels Theatre was described by one visiting international company as an ideal stage for dance. This weekend it’s the site for two unique programs with work by four choreographers—both modern dance and ballet—in City Ballet of San Diego’s “Ballet and Beyond.” And newcomer Geoff Gonzalez proves he can hold his own with …
Is it just San Diego, or do dance artists everywhere cook up provocative titles to get folks in the door, and then give them art? That’s what happened at “Sweat: Hot Dances for a Hot Night,” where Randé Dorn’s richly psychological work was the discovery of the evening … though there were certainly some sexy moments, provided by the guys.
A novelist of dance, Blythe Barton, in her longer work, creates vivid societies onstage. In “The only real world I know is mine,” her premiere at the San Diego Fringe Fest, Barton’s world was a generous place that I wanted to live in.