Charleston Diary, III: Pedes, don’t fail me now

charleston-threeShen Wei Dance Arts in “Re- (Part I).” Alex Pines photo courtesy Spoleto USA.

Copyright 2011, 2017 Chris Dohse

CHARLESTON, South Carolina — There’s a song by Simon & Garfunkel called “The Only Living Boy in New York.” A cover version of the song by Everything but the Girl came into my iPod shuffle while I was waiting in the Atlanta airport for my connecting flight from NYC to Charleston on May 28, and these lyrics seemed perfect in my feverish, sleep-deprived state:

“Half of the time we’re gone but we don’t know where; we don’t know when. Here I am…..” Seemed perfect because there I certainly without a doubt was.

I’d like to say more about Khmeropedies and Corella Ballet (see my previous Charleston Diary) and something about Shen Wei, these being the three big dance companies I saw at the Spoleto Festival. Specifically about the experiment I believe choreographers Emmanuele Phuon and Christopher Wheeldon are working out on these respective companies, Khmeropedies and Corella Ballet, with varying degrees of finesse, versus Shen Wei’s seemingly effortless creation of an individual movement vocabulary.

To receive the rest of the article, first published on June 11, 2011, including more photos, subscribers can contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2016. Just designate your PayPal payment to paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Purchase by February 28, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at paulbenitzak@gmail.com .

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Charleston Diary, II: All in the Family

corella

All grown up now: Carmen and Angel Corella face off in Maria Pages’s “Solea” with Corella Ballet. Photo courtesy Corella Ballet.

By Chris Dohse
Copyright 2011, 2017 Chris Dohse

CHARLESTON, South Carolina — The first thing you notice here is that everyone in South Carolina is very moist.

I brought a sinus/chest congestion and fever with me from the North (click here for my first Charleston Diary) that has been keeping me glued to an alternately sweat-soaked and freezing mattress in my friend Neil’s “Crisp Lettuce”-colored spare bedroom when not being driven to and from chilled theaters in his car through what feels like a wall of wet socks. My newly amphibian body reacts to changes in temperature and humidity now like a barometer made of meat.

From these first febrile days and nights (nine performances in four days), the somewhat eccentric female characters have made the strongest impressions, as you might expect from any trip to the deep South, the landscape of Tennessee Williams and Truman Capote. Here are five of them.

To receive the rest of the article, first published on June 3, 2011, subscribers can contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our  Archive of 2,000 exclusive reviews by 150 leading  critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment  in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check or in Euros. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Purchase before March 1, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at paulbenitzak@gmail.com .