Skip to main content
All Posts By

Jo Tomalin

Manual by Coriolis Teatro de objetos (object theatre) from Uruguay

By Jo Tomalin

Coriolis Teatro de objetos (object theatre) from Uruguay is invited to present Manual at this year’s Festival Mondial des Théâtres de Marionnettes at Charleville-Mézières, France.
With direction by Maru Fernández y Gerardo Martínez Dramaturgy and Interpretation by Cecilia Bruzzone, Maru Fernández and Gerardo Martínez the show is a joyous celebration of the hands, whether when working manually or creatively.

Three performers walk down the stairs and onto the stage. They take off their jackets, as if getting ready for work. They are all wearing black now and the set changes, lights out, and then action!

Vibrant music plays and the only things visible for the rest of the show are the six hands of the performers. They suddenly move in synch making formations and patterns in the air lit with precision so the moving hands are all that we see. After several rhythmic sequences of astounding creativity and execution, the hands explore what else they can do. For example, they form a head with a grimace that falls apart, sideways, up and down and each time a piece falls off another hand is there to pick it up to fix the face. This moves very fast and is very amusing.

Well the hands really go to town when they use a small prop or two! They discover shoes and some of the hands wear them and end up doing a tango together. By now we notice that the hands have personalities in the short scenes, which are relatable and very funny because of the magic they have of appearing and disappearing in the air! A very creative split second of a group of young children running excitedly is portrayed at one point, in between scenes, hilarious!

Sometimes the scenes are poignant and one scene in a dance hall is very entertaining and adds a change of pace. This show is a feast for the imagination where hands and hand theatre are used imaginatively in every possible way, and more.

A plastic sheet is intriguing in its effect and buckets arrive with their accoutrements for cleaning. The hands get busy cleaning and using their tools – and modest dish cloths take focus as they dance together to zippy music that adds something special to their usual unexciting but functional use. During the show a few words are spoken by the hand characters that is more like a gibberish so it’s easy to interpret in any language. Mostly accompanied to music throughout the show the music selections are dynamic and change according to the mood of the scene or formations.

Hands also become puppets with cloths on the fingers folded in a certain way can easily become little faces with scarves on their heads. This scene was the funniest and was so well received by the audience. An invitation to join in with a hand clapping moment by the audience to a special song is inevitable and pitch perfect.

There is such rapport built between the six hands and the audience from their expertise in the first minutes and this develops into total empathy for what the three performers are creating in front of us. This is such an entertaining fifty five minute show and it could be presented in any country very successfully because it is the hands and the carefully crafted scenes that are the stars here. No words are necessary and Coriolis Teatro shows us how in a most unique entertaining and creative production. Highly Recommended!

Coriolis Teatro:
Festival Mondial des Théâtres de Marionnettes:
Charleville-Mézières, France

Merveilles from Compagnie Un château en Espagne presented at Festival Mondial des Théâtres de Marionnettes

By Jo Tomalin

Written and directed by Céline Schnepf and performed by Natalia Wolkowinski, Compagnie Un château en Espagne presents Merveilles at this year’s Festival Mondial des Théâtres de Marionnettes at Charleville-Mézières, France.

The very attractive compact round set of this piece is immediately impactful. Leaves cover the small space and tiny trees surround the edges. A tall lamp is to one side and our storyteller appears. She starts to talk to us in a low tone that is well articulated, has enough volume and is spare in text. For this story is about the natural wonders of nature and its animals and geared towards the young. 

The seating area is organized in a semi circle with swathes of comfy dark brown fabric to sit on at the front for the very youngest with several benches for the adults. The storyteller relates to the entire audience with empathy immediately, she is very compelling to watch and to listen to as she tells us about the wolf, it’s relatives and other animals from temperate climates. At each first mention of an animal, she takes out a figurine of that animal and shows us carefully then places is somewhere in the circle.

Sometimes there is no speaking needed and she does some interesting movement to the beautiful eclectic score which runs from classical to contemporary and beyond.

One thing that is immediately apparent is that this story and the show appeals to the adults in the audience just as much to the very young. About one third of the audience at the show I attended were families but the vast majority were adults without children. I looked around at one point and saw that the adults were rapt in the storyteller’s spell.

This show is artistic as well as beguilingly educational and transports the audience far away. It is wonderful way to spend half an hour and even more so if it introduces the very young to imaginative and meaningful stories and theatre.

The storyteller sang a little song, did several short movement pieces and interacted gently with the audience, all from her small stage. Wolkowinski is completely invested in the storytelling and creating special moments for the audience – all deftly and so creatively led by Schnepf.

The result is an utterly charming piece of theatrical storytelling that appeals to all ages!

Schattenwerfer-L’ombre des choses at Festival Mondial des Théâtres de Marionnettes

By Jo Tomalin

The shadows appear out of the darkness and they show a detailed fantasy village. Charming music gently envelopes us from the silence and the scene is set! Two figures appear in person and they begin to play with simple items on the table, they have a cup of tea and suddenly a tiny figure walks out of one of their cups! Between them, the two puppeteers make it walk very effectively and it helps to solve their problems with quick ideas, which seems like magic. The little figure has a mind of its own and wants to explore the world!

Sarah Chaudon, Clara Palau Y Herero and Tobias Tönjes of TANGRAM Kollektiv based in Germany, have created an original show incorporating shadow puppetry presented at the Festival Mondial des Théâtres de Marionnettes 2023, Charleville-Mézières, France.

In the imaginative interactions between the two puppeteers, Sarah Chaudon and Clara Palau Y Herero, they mirror each other and they copy their own images so there appear to be double the pair of them on the stage. Their shadows and that of a small table with tea cups are projected on a large three-section screen. The combination of their clever trickery with lights, shadows and their nimble physicality shows them in different places both in front or behind a screen which changes the perspective and is never predictable – and the element of surprise is powerful!

A very amusing piece is when tea cups on a shelf start falling and tumbling by themselves. This brought the young children in the audience to roars of laughter, even from the very young – as well as us adults. The cups defy gravity in their playfulness and we are transported to a gently place of make believe. We know it can’t happen really but the magic of the shadows allows it, which is wonderful!

The inventive way TANGRAM Kollektiv play and move from one segment to another is very free and yet linked somewhat at the same time. Their shadow play moves from one place to another whimsically experimenting with tiny then larger lights growing and getting smaller, that hold everyone’s attention before move on to their next idea. In this show, shadows create a world where it is the shadows themselves that interact with the puppeteers. If you are looking for a family show that will appeal to the very young and hold their attention throughout, then this is the show to see!

Dimanche at Edinburgh International Festival 2023

By Jo Tomalin

Climate change is around us and two award-winning companies from Belgium have chosen to show and tell us their take with their inimitable wit, on this topic. The two companies are Focus Company and Chaliwaté Company and they create performances based the theatre genres of puppetry, video, mime and clowning. The former, Focus Company works with miniature objects and puppetry and Chaliwaté Company focuses on the body and gestures.They present their show Dimanche as part of this year’s Edinburgh International Festival.

Therefore, their artistic expression and sense of humour will reflect all of these art forms in some way while dealing with an important topic. Climate change is no laughing matter but these companies are optimistic that humans will turn it around. A creative way to bring attention to some of the current effects of climate change is through the power of theatre and enacting situations – in their own idiosyncratic way!

Written, Directed & Performed by Julie Tenret, Sicaire Durieux and Sandrine Heyraud, Dimanche is the French word for Sunday, a family day, when friends get together and have more time to reflect on what’s happening around them. Through a series of creative scenes, some linked throughout these three performers play several characters, manipulate props and objects, including an outstanding sequence of puppetry with a large fish!

Not wanting to give away spoilers, because much of the impact of this show comes from the element of surprise and exaggerated literal and imaginative visual expression, here are some hints! A brilliant global warming scene shows what happens when a family needs relief from the heat and things get way out of hand reflects on a sadly realistic situation and then turns into full on humour. 

Projecting video above the actors is an effective way to change location and add dimension to the terrain. Then back to the mysterious lighting of the stage we are suddenly transported under water accompanied by a huge fish puppet with very realistic movement and panache from the puppeteers.

Dimanche is a show that builds and continues to entertain and surprise through the never ending imagination and quirky creativity of this collaboration of these two companies. Highly Recommended!

More Information:

Café Müller – Choreographed by Pina Bausch in Paris!

By Jo Tomalin

Théâtre de la Ville presented Tanztheater Wuppertal Pina Bausch + Terrain performing Café Müller at La Villette, Paris July 6-12, 2023. Choreographed by Pina Bausch in 1978 this piece was produced by Théâtre de la Ville in 1985 and 1992, with the late Pina Bausch performing in it regularly. Under the new artistic direction of Boris Charmatz since last year, Tanztheater Wuppertal Pina Bausch presents Café Müller in a stand alone forty-five minute performance with three different casts each night.

A revolving door is centre stage through which customers arrive and leave. The wide stage space of Café Müller is strewn with almost fifty chairs and small round tables where sparse customers move around and into these objects – save for an agile man who moves them out of the way of a woman who apparently does not see them. This act is at once endearing and selfless – but there is more.

Café Müller has been called a psychodrama as scenes among the cast of six intermingle sporadically. Two women in ethereal pale silky dresses stay on stage the entire time and others come and go. A duet enacts repetitive dramatic moments between a woman falling on the floor out of the arms of a man, suggesting a rise and fall in a relationship.

The idea for Café Müller came out of the childhood memories of Bausch herself when her parents owned a Café and she spent time in the evenings observing the customers as they jostle between the sadness of reality and hope.

The choreography and mise en scène by Bausch includes breathtakingly fluid movement, sudden bursts of music and emotive dance, the visual of a woman slowly sliding down a wall to the floor, a person arrives and totters about not understanding the situation yet she seems to grow to accept it.

Set to music by Henry Purcell this piece is beautifully poignant and impactful.

Set and costume design by Rolf Borzik of black walls, chairs and tables with plexiglass, and the elegant evening dress work together to create a mysterious moody environment for the cast of six superlative performers as they discover themselves and form relationships.

Having seen this piece performed by this company many years ago as part of an evening performance, this stand alone forty-five minutes is extraordinary for the emotional impact. Highly recommended!

More Information:

Palermo Palermo by Tanztheater Wuppertal Pina Bausch at Montpellier Danse Festival

By Jo Tomalin

The 43rd festival of Montpellier Danse in France and Tanztheater Wuppertal Pina Bausch + Terrain Boris Charmatz presented Palermo Palermo /REPRISE/ on June 29, 30 and July 1, 2023 in Le Corum, Montpellier. Choreographed by Pina Bausch in 1989, this is the second piece of the series she created after visiting several countries and expressing her observations in dance theatre through her company of international dancers.

Palermo Palermo is immediately impactful when a huge wall of bricks wavers and falls backwards, then dancers emerge wearing high heels and dresses or fur coats walking across the broken bricks. Prescient in this image is the fact that the Berlin Wall fell a few months after her creation. Pina Bausch works are singular in their glorious construction, choreography, use of space, theatrical dance with movement and the Tanztheater Wuppertal company of outstanding dance theatre performers who also create characters with no or minimal words – sublimely.

Bausch created her works in collaboration with superb designers: Peter Pabst for stunning scenography and beautiful costume design by Marion Cito. Musical collaboration by Matthias Burkert is at the forefront in Palermo Palermo which includes a range from Grieg, Paganini, traditional music from Sicily, Southern Italy, Africa, Japan, Scotland – to music from the Renaissance and American blues and jazz.

This three hour piece with intermission is a feast for fans of Pina Bausch choreography and creative work and a bold introduction to new audiences. The Montpellier Danse festival has made an inspired choice to invite this company, whose ground breaking work needs to be seen in the world canon of choreography.

An international cast of twenty five dancers comprising several original Tanztheater Wuppertal company members who worked with Bausch before her death in 2009 are joined by recent cast members. They all create images and emotive sequences with verve and commitment. Character quirks and poignant expressive physical commentary unfold to reveal themselves with dramatic scenes and irony – then move on to a change of pace with ensemble dances that are fluid and abstract yet involve specific individuality, that are so visceral and moving.

Flashes of ideas and observations expressed by Bausch from her research in Palermo include gunshots, church bells and cocktails! Relationships are explored such as when a couple breathe on each other then perform a beautiful angular and flowing duet, so delicate and sensitive.

Long time (and now ex) company member Nazareth Panadero is an invited guest at this performance run. She is notable for her bold and fascinating character portrayals both physical and verbal. In one of her scenes in Palermo Palermo a male character irons her dress while she is wearing it and then she is taunted by another male character – her reactions evoke the possibilities of male and female relationships and attitudes at the time. Panadero also performs a brief and demonstrative scene about spaghetti, it’s absolutely wonderful!

Tanztheater Wuppertal Pina Bausch + Terrain Boris Charmatz have produced a superb provocative and highly creative production that is memorable – and an experience that would be greatly welcomed again at Montpellier Danse, in the future!

More Information:

Jo Tomalin, Ph.D. reviews Dance, Theatre & Physical Theatre Performances
More Reviews by Jo Tomalin
TWITTER @JoTomalin

San Francisco Ballet: Romeo & Juliet

By Jo Tomalin

Jasmine Jimison and Ricardo Bustamante in Tomasson’s Romeo & Juliet // © Lindsay Thomas

Romeo & Juliet opened its run on April 21, 2023, produced by San Francisco Ballet at San Francisco’s War Memorial Opera House. Set to music by Sergei Prokofiev conducted by Martin West and choreographed by Helgi Tomasson.

The romantic story is dramatic and moving. Scenery and costume design by Jens-Jacob Worsaae work together with the lyrical choreography to transport us. Visually the large sets with a bridge are impactful and skilfully used in the mise en scene. Costumes are of rich textures and earth tones that evoke a time gone by very effectively, together with lighting design by Thomas R. Skelton.

Tomasson’s choreography is beautiful in the duets and all ensemble sequences. In fact the ballroom scene is breathtaking when all dancers move forward at once in a show of grace and strength, it’s a powerful image not to be forgotten.

Jasmine Jimison and Angelo Greco in Tomasson’s Romeo & Juliet // © Lindsay Thomas

Jasmine Jimison is a beautiful Juliet in every way – it is her story – and we are transfixed to her scenes when she is at the ball, meets Romeo, stridently negates her parents wishes of a suitor – and then entangles herself in the tragic events. Jimison is youthful and authentic with muscular precision, joy, freedom and sadness. Partnered with Angelo Greco as her Romeo they are well matched with visceral movement and lovely interactions.

San Francisco Ballet in Tomasson’s Romeo & Juliet // © Lindsay Thomas

A formidable cast play parents and friends of the star struck couple, led by Ricardo Bustamante and Jennifer Stahl as Lord and Lady Capulet, Luke Ingham as Tybalt, Rubén Cítores Nieto and Katita Waldo as Lord and Lady Montague, Max Cauthorn as Benvolio and Anita Paciotti as Juliet’s Nurse.

Sword fights take centre stage in this ballet between Montague and Capulet rivals – dynamically performed by Cauthorn and Ingham – and are some of the best I have seen in a ballet setting, with vibrant and dynamic fight scene choreography by Martino Pistone in collaboration with Helgi Tomasson.

This Romeo & Juliet is not to be missed!

More Information:

Jo Tomalin, Ph.D. reviews Dance, Theatre & Physical Theatre Performances
More Reviews by Jo Tomalin
TWITTER @JoTomalin

SF Ballet’s Cinderella – Magical!

By Jo Tomalin

Misa Kuranaga in Wheeldon’s Cinderella© // © Lindsay Thomas

San Francisco Ballet presents Christopher Wheeldon’s Cinderella©, set to Sergei Prokofiev’s score, March 31 to April 8, 2023 at San Francisco’s War Memorial Opera House, orchestra conducted by Martin west. This three act ballet is glorious in its visual storytelling, production design and of course, the fine tuned precision and flourish of the San Francisco Ballet.

The leading and character roles are played by a different cast at each performance and on opening night, March 31, 2023 Cinderella was danced by Misa Kuranaga. This role is strenuous in the amount of choreography and emoting the character does in her journey as an orphan to fulfil her dreams of going to the ball. We all know the story and what happens eventually, but Wheeldon took elements from several versions of the Cinderella story as told decades ago, and this Cinderella is fresh in the new ideas and imagery it brings.

Misa Kuranaga and Isaac Hernández in Wheeldon’s Cinderella© // © Lindsay Thomas

Kuranaga is notable as Cinderella with lovely projection and sublime, fluid movement throughout all her solos, duets and when she joins other groups along the way. Throughout the entire ballet she sustains her light dance quality and goes through a range of emotions from sadness to pure joy and wonderment.

Jennifer Stahl as Hortensia, the stepmother is beautifully strange, usually accompanied by her two daughters, Cinderella’s stepsisters, danced by Elizabeth Powell and Ellen Rose Hummel, forming a deliciously quirky and powerful trio with choreography and angular movement to match.

Prince Guillaume danced by Isaac Hernandez is Cinderella’s romantic lead and works well with his childhood friend, Benjamin, danced by charismatic Esteban Hernández. Their sword interplay is mirrored in Act 1 when the boys were young children and then become grown up versions – this makes a connection and through line to focus on throughout the story timeline.

Tiit Helimets plays Cinderella’s Father partnered with Cinderella’s Mother, Kamryn Baldwin in some tender parental moments.

San Francisco Ballet in Wheeldon’s Cinderella© // © Lindsay Thomas

A curious group of characters in dark blue and black waft in and out of each act adding an ethereal element to the storytelling. They are ‘helpers’ as in various genres of theatre and performance and interact with and around Cinderella and others somewhat like a Greek Chorus, moving the story forward and facilitating otherworldly action. These are the Fates, a dynamic group danced by Daniel Deivison-Oliveira, Steven Morse, Alexander Reneff-Olson, John-Paul Simoens. The Fates are a vital part of this witty reimagining of Cinderella – and they look like they are having too much fun!

San Francisco Ballet in Wheeldon’s Cinderella© // © Lindsay Thomas

Outstanding scenic and beautiful costume design by the renowned Julian Crouch is creativity personified. Stunning sets and transitions truly transport the audience into the magical nether world and back to reality with clever choices that work together perfectly with Wheeldon’s imagination and vision. Lighting design by Natasha Katz and Projection design by Daniel Brodie are all part of this magic together with Basil Twist for his show stopping tree and carriage sequence direction/design.

If you have not yet seen Wheeldon’s Cinderella, do so, it will take you away to where anything is possible!

More Information:

Jo Tomalin, Ph.D. reviews Dance, Theatre & Physical Theatre Performances
More Reviews by Jo Tomalin
TWITTER @JoTomalin

William Kentridge’s Sibyl at Cal Performances

By Jo Tomalin

Cal Performances presents the US premiere of William Kentridge’s SIBYL, Friday–Sunday, March 17–19, 2023 in Zellerbach Hall.
(credit: Stella Olivier)

Cal Performances presents William Kentridge’s Sibyl March 17-19, 2023 at Zellerbach Hall, Berkeley. Kentridge is in residence at UC Berkeley for the 2022-23 academic year presenting a series of lectures, art exhibits, performances and films culminating with the US Premiere of his theatrical chamber opera, Sibyl, directed by Kentridge, who also led the concept and design supported by a substantial creative team. Music for the two-part program is composed and conceived by Nhlanhla Mahlangu and Kyle Shepherd, with piano played by Shepherd, during the performance.

The first piece The Moment Has Gone, is a twenty two minute film of Kentridge his studio in South Africa with several singer dancers on stage, accompanied by jazzy piano music. The piece is intriguing and moving and shows Kentridge’s multi disciplinary creativity as an artist and animator. The quality of the music, singing and magical effects of the film is sublime storytelling and a fascinating insight into Kentridge.

William Kentridge. Cal Performances presents the US premiere of William Kentridge’s SIBYL, Friday–Sunday, March 17–19, 2023 in Zellerbach Hall.
Pictured: William Kentridge
(credit: William Kentridge)

Sibyl is a story based on the myth about waiting for the Sibyl, to find out one’s destiny, expectations of life, death and hope for the future. There are several scenes in this forty four minute piece interspersed with a blackout. Each scene is visually and aurally abstract, creative and visceral. Expect the unexpected after the first image of a woman center stage, she is breathing visibly – she is waiting for the Sibyl, to know her destiny. A group of five performers are near, suggesting a form of a mythical chorus, they each wear curious, remarkable round flat hats, while another performer chants “the moment has gone”. It reminds me of something I can’t remember. We are transported!

Cal Performances presents the US premiere of William Kentridge’s SIBYL, Friday–Sunday, March 17–19, 2023 in Zellerbach Hall.
Pictured: S’busiso Shozi, vocalist
(credit: Stella Olivier)

This scene is followed by a veritable feast of Kentridge’s strident black ink art woven through a creative tapestry of images, animation, drama, wit, beauty, with Dadaist designs of sets, objects and costumes featuring lively and rich music and song. We are led through a creative mind and interpretation by Kentridge taking us to places we don’t recognize and up and down stairs, to an office where words come alive and out of a man’s head and a distinctive old school typewriter has its own sound and rhythm. Haunting melodic singing is punctuated by African click sounds.

In a vibrant scene colorful shapes – orange, yellow, red, white and blue appear, while there is singing with hyena like laughs. Delicious contraptions are everywhere – and a performer sits wearing a delicate circular pleated skirt very carefully arranged.

A highlight scene is a stage full of mismatched chairs, when we discover that they have a life of their own, it’s so witty and clever!

Beautifully staged by Kentridge and performed by the cast of nine singers and dancers, with Shepherd at the piano, Sibyl is pure movement, rhythm, art, dance, visual abstract theatrical storytelling, textured music and song. It is to be seen and experienced!

More Information and Tickets:

Cal Performances

Jo Tomalin, Ph.D. reviews Dance & Theatre Performances
More Reviews by Jo Tomalin
TWITTER @JoTomalin  Arts & Travel Reviews

SF Ballet Vibrant Triple Bill: The Colors of Dance

By Jo Tomalin

San Francisco Ballet presents the stage Premiere of Myles Thatcher’s COLORFORMS, part of a triple bill program, March 14 – 19, 2023 at the War Memorial Opera House, San Francisco.

Previously presented as a World Premiere film version during SF Ballet’s 2021 Digital Season, the stage version debuted on March 14th and was very well received. Set to music by Steve Reich and choreographed by Myles Thatcher, an SF Ballet Soloist, the combination of Reich’s Variations for Vibes, Pianos, and Strings with Thatcher’s choreography results in a vibrant and joyous new ensemble piece to be added to the SF Ballet repertoire.

On opening night COLORFORMS featured Principal Dancers Sasha De Sola, Aaron Robinson, Misa Kuranaga, and Esteban Hernández; Soloists Jasmine Jimison, Isabella DeVivo, Steven Morse; Cavan Conley Maggie Weirich, and Davide Occhipinti, performing in a variety of small and large combinations with streamlined transitions of set and lighting.

The Scenic and Lighting Design of this piece by Jim French is architectural and beautiful as the set and lighting transforms the space from a seeming three rooms that become a stunning vast backdrop of neon colors and grids.

Susan Roemer’s Costume Design of a notable every day look including full skirts and dresses in varied colors and textures at the start of COLORFORMS and becomes form fitting as the piece evolves.

The theatrical set and look of this piece develops from the fast moving groups of young characters and random combinations as they playfully turn, move, enter and exit a three room space. Reich’s rhythmic music is unpredictable and exciting, especially when the ‘rooms’ melt away – into a new episode of shapes, forms, set, dancers and choreography!

COLORFORMS envelops a range of moods and emotions from dancers in their interactions between the characters and creative choreography, which is visceral, energetic and dynamic throughout the piece. This is certainly a piece to see again to appreciate all the elements that come together so well!

This triple bill program opens with Helgi Tomasson’s 7 FOR EIGHT and closes with William Forsythe’s BLAKE WORKS I.

7 FOR EIGHT is choreographed by Tomasson and is set to beautiful music by Bach : Keyboard Concerto No. 5, BWV 1056 (2nd & 3rd movements); Keyboard Concerto No. 4, BWV 1055 (1st and 2nd movements); Concerto for 4 Harpsichords, BWV 1065 (2nd movement) arranged for one harpsichord; Keyboard Concerto No. 1 BWV 1052 (2nd and 1st movements), conducted by Martin West with pianist Mungunchimeg Buriad.

The first duo with Yuan Yuan Tan and Aaron Robinson with intricate partnering, elegant lifts and Tan’s outstanding extensions sets the tone for the piece. Next, Norika Matsuyama and Cavan Conley perform a joyous and lively duo with freshness and verve. The following movements include floaty, gracious, and dramatic choreography with twirls of floor patterns and precise fast footwork in this elegantly restrained piece.

Dark costume design by Susan Roemer perfectly juxtaposes with the deep blue tones of the scenic and lighting design by Jim French.

Forsythe’s BLAKE WORKS I is set to music by James Blake and features a large ensemble of dancers performing in short episodes. The ethereal music with vocals in the first piece is fascinating when Sasha De Sola, Nikita Fogo and Jasmine Jamison lead out in I Need a Forest Fire. The intriguing score continues with trios, duos and ensemble choreography that is at once grounded, electrifying, sensual, balletic, vibrant, punctuated with fluid joy, unusual choreography with fascinating relationships among the dancers as the music becomes transporting to another time and place – it is all very compelling!

All elements of this piece work in unison to create a breathtaking experience for the audience. Beautifully staged by Ayman Harper with mid blue to dark costume design by Dorothee Merg and William Forsythe and moody atmospheric lighting design by Tanja Ruehl and William Forsythe.

Sasha De Sola and Max Cauthorn’s final duet, Forever, is breathtaking, tender and lovely!

More Information and Tickets:

Jo Tomalin, Ph.D. reviews Dance & Theatre Performances
More Reviews by Jo Tomalin
TWITTER @JoTomalin  Arts & Travel Reviews