Christopher Duggan

BalletX: Fall: 2024 Season

October 1, 2024

The final work of the evening was Takehiro Ueyama’s “Heroes,” dedicated to the brave, hard-working citizens of Japan who helped pull themselves out of the devastation of World War Two. Set to darkly emotional music by Kato Hideki and Ana Milosavljevic (played live) and a recording of John Adams’ moody, but energetic “The Chairman Dances – Foxtrot for Orchestra,” “Heroes” was filled with a wide range of emotions beginning with a long duet, a portrait of a deeply emotionally involved couple who, heartbreakingly, wind up parting, Ueyama’s choreography skillfully, but subtly illuminating a wealth of emotions. [more]

Fall for Dance: Program 3

October 6, 2023

The Houston Ballet, Julie Kent and Stanton Welch, directors, opened the program with Welch’s genteel "Clear" to music by J.S. Bach. Originally staged on American Ballet Theatre, the Houston dancers, seven men and one lonely lady, couldn’t have been better: smooth, exuberant, beautifully trained and rehearsed and musical to a fault. Bare-chested, wearing tight pants that flared at the bottom, the men performed Welch’s classical ballet-based choreography which ranged from simple classroom steps to bravura leaps and partnering. Yuriko Kajiya, the mostly ignored female, appeared to exist to be ignored by the men who barely interacted with her and then only in the slower movements. What distinguished the steps in "Clear" were the unusual arm movements that sometimes seemed to have emotional overtones, but mostly made lovely shapes as the dancers showed off their soft-edged virtuosity, particularly Connor Walsh who whirled madly about in a series of fouettés, usually the preserve of female dancers. [more]

Hong Kong Ballet: “Romeo + Juliet”

January 17, 2023

Webre went for acrobatics and precision rather than passion. Perhaps, the Chinese Communist regime frowns upon openly sexual expression in dance. Perhaps Webre can’t summon anything but pretty pictures, but his Romeo + Juliet was theatrically brilliant, but emotionally shallow. [more]

Twlya Tharp: “In the Upper Room” & “Nine Sinatra Songs”

October 29, 2022

A scene from Twyla Tharp’s “In the Upper Room” at New York City Center (Photo credit: [more]

New York City Center Fall for Dance 2022: Program 4

October 3, 2022

"Men of Kyiv," choreographed to high-spirited traditional folk music by Pavlo Virsky, pitted two groups of men—one wearing blue T-shirts, the other yellow, the colors of the Ukrainian national flag—against each other in a friendly, boisterous competition which began with a high-kicking entrance mazurka. This was followed by one exhibition of prowess after another: barrel turns, high cheerleader jumps, kazatskis, split leaps and unison chain dances. It was almost as exhausting to watch as it was to dance and it left the audience totally in love with this good-natured dance troupe. [more]

Sutton Foster: “Bring Me to Light”

April 30, 2021

Sutton Foster, one of the shining lights of New York City’s currently dimmed theater scene, glowed in Sutton Foster/Bring Me to Light. Her voice and interpretations were the richest they have ever been. Add to this her choice of repertoire and her talented guests and Bring Me to Light is a beacon of light in a dark year. As we see New York City Center’s backstage staff prepare for the performance, Foster performed the Rodgers and Hammerstein classic “Cockeyed Optimist” segueing to Stephen Sondheim’s “Everybody Says Don’t” and Kander and Ebb’s “Yes,” all upbeat, optimistic songs that should resonate with today’s pandemic-strained audiences. [more]

Dorrance Dance: The Nutcracker Suite

December 23, 2019

The music included the catchy, familiar tunes of "The Nutcracker Suite" by Peter Ilyich Tchaikovsky, first featured in classical ballet. The Dorrance version uses the absolutely wonderful jazz arrangement by Duke Ellington and Billy Strayhorn. No doubt the music would have been enhanced with a live orchestra, but one assumes that there was neither the budget nor the space for a Big Band orchestra. Nonetheless, the music is a marvelous interpretation, providing the perfect accompaniment for tap dancing – and certainly worth hearing again on its own. On occasion, however, there is no music, just the rhythmic sounds of tap dancing providing its own accompaniment. [more]

Limón Dance Company: Spring 2017 Season

May 16, 2017

“Corvidae,” Colin Connor’s contribution to the program, was staged to the relentless first movement of a Philip Glass Violin Concerto. The title refers to the scientific name of the family of crows and ravens. The six dancers, stylishly dressed in all black outfits by Connor and Keiko Voltaire and moodily lit by DK Kroth, wandered about stylishly, but aimlessly, suddenly bursting into movement, softly leaping, arms held in wing-like positions. The heads of stationary dancers were held high in ornithological awareness as the rest of the cast softly cut through the air in balletic, sweeping steps. The overall mood was dark and sexy. [more]

Ballet Tech presents Kids Dance

June 17, 2016

However, the main thrust of this troupe is to stimulate a gentle discipline and the ability to work effectively with others. It’s clear that these youngsters who range from seven or eight years old to teenagers enjoy their time on the stage and have been rehearsed to perfection. Occasionally a look of concerted concentration replaced smiles but this experience—whether any of these kids will go on to careers in the performing arts—is priceless and will have positive repercussions throughout their lives. [more]

Alison Chase/Performance

January 22, 2016

Chase put extreme physical demands on her dancers in some works, relied on their acting ability in others, most often combining these elements. She also—as the Pilobolus creators did—collaborated with her dancers on virtually all the choreography, so where she leaves off and they begin is difficult to ascertain. [more]