Twyla Tharp: A Diamond in the World of Dance

In her 60 years of eminence, Twyla Tharp has choreographed more than 160 new works, including nearly 130 dances, 12 television specials, six Hollywood movies, four full-length ballets, four Broadway shows, and two figure skating routines. Twyla Tharp Dance celebrates the distinguished career of its namesake with the Diamond Jubilee tour, which kicks off at Northrop with both classic and new pieces by Tharp: a revival of her Olivier Award-nominated dance Diabelli (1998)—paired with Ludwig van Beethoven’s masterpiece Diabelli Variations, played live on piano by Vladimir Rumyantsev, an accomplished pianist known for his virtuosity and ability to interpret the piano's vast repertoire.

Also on the program is the world premiere of SLACKTIDE. Accompanied by live music arranged and performed by Grammy Award-winning ensemble Third Coast Percussion, SLACKTIDE is set to Philip Glass’ Águas da Amazônia (“Waters of the Amazon”), with the iconic score coming to life on an array of custom-designed percussion instruments. This highly anticipated creation will showcase Tharp’s exceptional ability to blend intricate choreography with evocative music, giving audiences the chance to witness history in the making.

The Chicago-based Third Coast Percussion (Sean Connors, Robert Dillon, Peter Martin, and David Skidmore) has crescendoed from humble beginnings to impressive success in the music industry. The group was founded in 2005 while the ensemble members were studying percussion at Northwestern University. They bonded instantly over their mutual passion for the artistic medium and eventually formed Third Coast Percussion (now with the additions of Sean Connors and Peter Martin), an “ensemble of the highest echelon” (Fanfare Magazine).

The group became the first percussion ensemble in history to win a Grammy Award in the classical genre. During their nearly 20 years of nationwide performances, they have recorded 31 albums; commissioned and premiered 110 new works; and created a partnership for emerging musicians, community educational programs, and more. Third Coast Percussion’s collaboration with Tharp and guest flutist Constance Volk will kick off the group’s 20th anniversary season, adding to their long list of historic collaborations. For Águas da Amazônia, expect to hear "an array of instruments that boggle the mind,"  such as a glass marimba and PVC pipes fashioned into percussion devices influenced by classical and Brazilian music.

Twyla Tharp Dance and related Tharp projects have performed at Northrop seven times, with works choreographed by Tharp appearing here in numerous performances by other companies. The company first performed here in 1979 and most recently in 2003. Two seminal figures in the dance world converged twice on the Northrop stage: in 1983, Mikhail Baryshnikov and Tharp combined their dance magic to present the Tharp work The Little Ballet with American Ballet Theatre; and then again in Dec 1992 when the duo performed together. Tharp’s work was seen most recently at Northrop when American Ballet Theatre performed In the Upper Room in 2019.

As a toddler, Tharp began cultivating her artistic prowess in as many disciplines as possible (including piano, dance, baton twirling, drums, painting, French, among others). Her childhood exposure to music and different dance styles specifically inspired her life’s trajectory, as she majored in art history at Barnard College and explored the versatile dance opportunities that New York City offered. In 1965, she started Twyla Tharp Dance, creating a name for herself while developing edgy, humorous, and technically challenging pieces.

A 2021 PBS American Masters documentary feature on Tharp uses historical footage, “never-before-seen interviews,” and selections from performances to explore the inspirations and impact of Tharp’s career—which has so far garnered a Tony Award, two Emmys, 19 honorary doctorates, the National Medal of the Arts, a Kennedy Center honor, and the MacArthur Genius fellowship.

In addition to performing and winning numerous awards on historic stages, Tharp has worked with various dance companies and renowned artists since founding Twyla Tharp Dance. After her first publicly performed piece Tank Dive debuted in 1965, Tharp continued to create notable works such as The Fugue (1970), Eight Jelly Rolls (1971), and Push Comes to Shove (1976). Her Deuce Coupe for Joffrey Ballet (1973) is credited with being the first “crossover ballet,” combining modern dance and classical ballet. Push Comes to Shove, choreographed for the renowned classical ballet dancer Mikhail Baryshnikov, also took the world of ballet by storm—opening doors for exploring choreography, fusing styles, and challenging the norms of classical dance.

Tharp isn’t one for stagnation. Instead, she ushers in the future of dance with a constant flow of new work, even continuing to choreograph over Zoom during the Covid-19 pandemic. Her most recent pieces, Brel (2024) and The Ballet Master (2024), premiered at the Joyce Theatre in New York to much acclaim from audiences and critics.

Not only has Tharp pushed the boundaries of dance, she has also defied the stereotypes of aging. In a PBS segment centered on Tharp’s remarkable career, she describes how the body does not need to contract, becoming less with age; rather, it can become “hopefully more.” Tharp embraces this “more” with persistent ritual. Around 7:00 am each day, Tharp is already hailing a cab from her Manhattan apartment and heading to the gym. Her continual movement and creation aim to embrace and redefine, rather than fear, the process of aging as an artist and in general. Tharp has written several The New York Times bestselling books on this topic—most notably The Creative Habit: Learn It and Use It for Life, a “self-survival” guide with practical exercises to help overcome artistic lethargy. Her most recent book, Keep it Moving: Lessons for the Rest of Your Life, shares insight on harnessing vitality and purpose through old age. Based on her wisdom of 83 years and groundbreaking career of 60 years (and counting), it seems like we could all take a page out of Tharp’s book!