New Orleans Finds Its Dancing Shoes

“Call it the original populist movement: dancing for the people and by the people, all different people. Cross-cultural boogieing — that was this city’s first contribution to the national identity.” But somewhere between the Louisiana Purchase and the modern era, New Orleans lost its claim to being one of America’s centers of the arts. Still, the evidence of the Crescent City’s dance roots is everywhere, and the idea of dance as an art of the people, rather than an elite craft, is central to the heritage. “The people of [19th-century] New Orleans were multicultural in a meaningful way, mixing blood and traditions to make new and vital arts. Perhaps that is a model to revitalize dance today.”

The Golden Age Of Children’s Theatre?

With the Minneapolis-based Children’s Theatre Company collecting the Tony award for best regional theatre, is the world of high drama finally ready to embrace truly excellent productions for kids? More important, should audiences now expect the same high level of performance and production from shows directed at children as they do from ‘adult’ theatre? “For decades the field was seen as the theatrical bush leagues, the province of sanctimonious pedagogues, dramaturgical amateurs and dubious actors in animal suits. But those prejudices have been eroding, and now there is a highly visible emblem of this shift.”

Are There Too Many Holocaust Films?

It’s a touchy question. Such a momentous and terrible event as the Holocaust surely deserves to be memorialized on film. But with so many new documentaries being released every year, is the supply outstripping the demand? More importantly, is the sharpness of the message dulled by such a glut of messengers? That notion is starting to make it more difficult for filmmakers wanting to focus on the Holocaust to win financial backing.

Neither The Best Nor The Worst Of Times

The sky is not about to fall down on the world of symphony orchestras, but neither is the future outlook as rosy as some industry soothsayers think, says Paul Horsley. The fact is that orchestras with responsible fiscal policies are thriving, even in the down economy, but that doesn’t make it any easier for the groups in trouble to dig their way out of the financial hole. The ‘X factor’ in orchestral success remains a commitment to artistic quality, and the orchestras that stay afloat are the ones that can find a way to maintain their standard, even as they cut the necessary monetary corners.

Can’t Anyone Paint A Face Anymore?

When did it become so impossible for an artist to sit down and crank out a recognizable representation of an actual human being? Has contemporary art become so self-conscious, and so detached from the real world, that a decent portrait is no longer achievable? The dearth of quality portrait painters is such a problem, in fact, that Britain’s National Portrait Gallery has been reduced to holding a contest to find an artist capable of doing the job. The gallery generally “has to make do with the artists available; and when they are famous in their own right, it then has to deal with the consequences, for example, of blowing untold funds on a Lucian Freud or a Hockney.”

An Architectural Clash of the Titans

Jacques Herzog and Rem Koolhaas see themselves as the twin giants of the architectural industry, says Deyan Sudjic, and like any other rival titans, they cannot seem to resist the temptation to one-up each other. “Between them, they have transformed architectural debate… [but] the relationship between them is becoming more like that between Godzilla and King Kong. They can’t help but go swarming all over the skyline, trying to take pokes at each other. And in the end, they are interested in entirely different things.” Herzog’s magnificent new Prada store in Tokyo is the latest salvo in the friendly battle: it “comes hard on the heels of Koolhaas’s much- publicised New York flagship for Prada, and effortlessly eclipses it.”

A String Quartet Too Hot To Handle

“The culture wars don’t often invade the rarefied world of chamber music. But the Great Lakes Chamber Music Festival’s directors have decided to omit the sexually explicit and homoerotic narration accompanying a new piece by Pulitzer-winning composer David Del Tredici… To the composer, who is well-known for celebrating his homosexuality in his music, the issue boils down to censorship fueled by homophobia. To James Tocco, who is also gay, the issue is the festival’s responsibility to an audience that includes children. Trapped in the crossfire are the musicians in the Elements Quartet, which commissioned the work from Del Tredici and offered the world premiere performance to the festival.”

New Urbanism Comes To Denver

In Denver, where an abandoned railroad yard long considered a blight on the downtown area has been transformed into “a vibrant new inner-city neighborhood with a mix of offices, residential units and retail businesses,” architect Todd Johnson and his Design Workshop are being celebrated as shining examples of the New Urbanism. At the heart of the Denver design was the notion that it is no longer enough just to build an urban landscape and expect people to flock to it. But the tired notion of getting suburbanites to return to downtown by bringing the suburbs to the city hasn’t worked either. The key to a successful urban design, says Johnson, is to create a space that makes people want to move around in it, preferably on foot, with lots of other people.

The Changing Face of The West End

“Three of London’s major theater institutions – the Royal National Theatre, the Donmar Warehouse and the Almeida Theatre in Islington – acquired new artistic directors in the past year. A fourth company, the Old Vic, has a new head as well, a starry American one: Kevin Spacey, who plans to act in and direct Old Vic productions.” But can any amount of new blood manage to pull the West End out of what has become an embarrassing and extended slump? Michael Phillips sees some promising signs.