Have we come a long way, baby?

By Carla Escoda, 29 September 2014

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“Hope Mohr asks us to pursue the thrill of movement that constantly questions its source.”

Reviewed at Joe Goode Annex, San Francisco on 27 September 2014

The Courtesan and the Crone (Anna Halprin)

Carnation (Lucinda Childs)

Shard (Hope Mohr)

News Animation (Simone Forti)

Peiling Kao, Dancer

Hope Mohr, Choreography

Simone Forti, Choreography

Anna Halprin, Choreography

The marvelous, disarming Sons of Echo at the Joyce Theater

Carla Escoda, 14th January

A rare opportunity to see five male ballet superstars – notably Alban Lendorf, in great form long after injury sidelined him – in an intimate theater, in work exclusively by women.

****1

The inspired and the prosaic at Fall for Dance at New York City Center

Carla Escoda, 20th September

A perfect triple bill became a less perfect quadruple bill. Brilliant performances by dancers from Gibney, kNoname Artist, Paris Opera étoiles rarely seen in New York and – a rarity these days – live musicians.

****1

Four New Works by Lucinda Childs: classic postmodernism

Katja Vaghi, 7th December

Lucinda Childs presents four new works at the Haus der Berliner Festspiele, appearing on stage as a youthful 84, in one of them.

****1

Reaching for the light: Arvo Pärt and Robert Wilson's Adam's Passion

Alissa Balocco, 31st March

For the first time in Italy the opera that brings together the spiritual music of the Estonian composer and the minimalist direction of Robert Wilson.

****1

Wendy Whelan embraces minimalism in The Day

Gillian Ebersole, 18th October

The Day features music by David Lang and choreography by Lucinda Childs as former ballerina Wendy Whelan and cellist Maya Beiser perform together in this work contemplating memory, mortality, and aging.

***11

Lyon Opera Ballet: Trois Grandes Fugues

Graham Watts, 19th October

A programme that proves you can definitely dance to Beethoven; and in so many different ways.

***11

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Carla Escoda

Born in the Philippines, Carla trained as a ballet and modern dancer with the Alice Reyes Dance Company in Manila. She has lived and worked in Asia and the U.S. and has written about the arts for Bachtrack, KQED (the northern California public media broadcaster), Dance International, dance journal/hk, the Huffington Post, Dance Europe and ballettothepeople.

Have We Come A Long Way, Baby? asks Hope Mohr