Mikhail Baryshnikov's latest project, “Man in a Case,” made a spectacular premiere at Hartford Stage last weekend. The show is unique: a stage adaptation of two Anton Chekov short stories, presented one after the other.
Under the direction of Brooklyn–based Big Dance Theater's Annie-B Parson and Paul Lazar, Baryshnikov and six cast members blend pedestrian choreography and gestures with dialogue and video projections to drive action and illustrate emotion in the play.
With his resonant speaking voice, spot-on comedic timing and, of course, his movement, the ballet icon draws in the audience. Even his hand gestures mesmerize. And just before the end of the first story dance fans are rewarded with a brief but entrancing Baryshnikov solo. It lasts just thirty seconds, but the moment of pure Misha movement is, in itself, worth the price of admission.
Photo by T. Charles Erickson
Finis Jhung's career as a professional dancer began in 1960 in the Broadway and national companies of Flower Drum Song. The Korean-Scottish-English Hawaii native then went on to dance with San Francisco Ballet and the Joffrey Ballet, found his own company, Chamber Ballet USA, and teach his unique classical ballet style to professionals and amateurs all over the world. Now, at age 80, his teaching has gone full circle back to the basics, primarily focusing on what he calls his "adult babies"—absolute and advanced adult beginners—at The Ailey Extension in New York City.
As the director of dance at Fred Astaire Dance Studio in Belmont, Massachusetts, Istvan Cserven organizes the biannual student showcases, prepares dancers for competition and trains new instructors. On top of all that, he teaches the upper-level technique classes. A former ballroom champion in Hungary, he is well-acquainted with both rhythm and smooth ballroom-dance styles.
In an event inspired by the words of President John F. Kennedy, The Washington Ballet will perform the world premier of WHO WHEN WHY this Saturday, June 24, at the Smithsonian American Art Museum's Kogod Courtyard.
After having spent a lifetime looking at ourselves in the mirror, constantly appraising, who of us wouldn't want to take a dance class in the dark? Two Australian dance students, Alice Glenn and Heidi Barrett, had the same thought in 2009 when they founded No Lights No Lycra, a global dance community that offers dancers and nondancers alike the chance to get their groove on in a dark space, where there's no light, no Lycra, no technique, no teacher and no steps to learn. It's just a place to lose yourself in the music and find your own dance mojo. The event became so popular that it spread past its Melbourne beginnings, first throughout Australia and now, globally.
Four incredible educators: Joanne Chapman, Claudio Muñoz, Pamela VanGilder and Kathleen Isaac foster their students' love of dance, whether instilling artistry, offering rigorous training or giving special needs students an outlet through movement.