Profile of Hanna Oldsman
Hanna studied dance at a small dance school in Massachusetts and at
the Kirov Academy of Ballet in Washington, D.C. before heading to New
York to attend Barnard College. While at Barnard she studied English
literature and wrote dance reviews for two campus publications, the
“Columbia Spectator” and the “Barnard Bulletin.” She is currently working
holdsman [at] gmail [dot] com
Articles written for the California Literary Review:
- Dance Review: New York City Ballet
Posted on 11 Feb 2011 in Dance, Performing Arts
I never tire of seeing After the Rain, however, and doubt that I will. This ballet, choreographed to music by Arvo Pärt, begins with six dancers on the far side of the stage. In front of a backdrop that looks like a rain-spattered window, the women, facing the audience, lift their legs to high penchées–a memorable beginning.
- Review: Parsons Dance at the Joyce
Posted on 07 Feb 2011 in Blog-Dance, Dance
Name a piece “Bachiana” and you invite comparison to two twentieth-century greats: Fokine’s Chopiniana, with its nimble-footed sylphs, and Balanchine’s swan song, Mozartiana — one of the choreographer’s last ballets. Both of these works engage seriously with the music, illuminating its contours, reacting to changes in tone and rhythm.
David Parsons’ Bachiana, set to Bach’s Orchestral Suite No. 1 and Air on a G String, does none of this.
- Dance Review: NYCB Offers Polyphonia, For the Love of Duke, and Concerto DSCH
Posted on 31 Jan 2011 in Dance, Performing Arts
Yet while these dancers retain their individuality, Ratmansky manages to make their movements seem of a piece. It is this communal energy that drives the piece. When Wendy Whelan and Tyler Angle enter and dance their fine pas de deux, one of the three couples remains onstage to watch; and, as the music develops, all six dancers return and work bits of these new steps into their own movements—their own lives.
- Dance Review: Alvin Ailey Offers Anointed, The Hunt, Cry and Revelations
Posted on 08 Dec 2010 in Dance, Performing Arts
Luckily, Robert Battle needs no anointing. His choreography speaks for itself. In the company premiere of Battle’s The Hunt, the choreographer proved himself capable of the shifts and subtleties in tone that make Ailey’s pieces so memorable—think, for example, of the final movement of Revelations, in which the gossiping church-goers are both amusingly irritable and filled with inner-light.
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