World-class review of ballet and dance.
In the summer of 2007, writer Stephen Manes, known for his best-selling Bill Gates biography, over thirty books for young adults and children, and for his work as a technology columnist, proposed a new endeavor. He wished to spend an entire season at Pacific Northwest Ballet to observe like a...
Continue ReadingMove over, Matthew Bourne, there is a new voice in theatrical dance plays. Choreographer Penny Saunders' bespoke production of “Sherlock,” performed by Grand Rapids Ballet, was not only a triumph in bringing literature’s favorite super sleuth to the stage in dance form, but is an early contender as one of...
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Juliana F. May’s “Optimistic Voices,” which premiered last week at BAM Fisher, was pitched as an exploration of the “tangled contradictions of family, eroticism, and motherhood.”
Continue ReadingPowerhouse: International, the newly launched arts festival in Gowanus, Brooklyn, continued its fall offerings with the multidisciplinary work “Fampitaha, fampita, fampitàna,” co-presented with L’Alliance New York’s Crossing the Line Festival.
Continue ReadingIn an animation that is woven through the performances of traditional dances in Indigenous Enterprise’s “Still Here,” a young boy watches a video of powwow musicians and dancers with his grandfather on Youtube.
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What drives the creative force in the universe? What impels motherhood? These are some of the questions that provoked the bold and colorful work that unfolded onstage as Gallim premiered “Mother” at the Joyce the first week of November.
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It’s a law of the universe, immutable as gravity: if you’re a ballerina, in December you’re dancing “The Nutcracker.”
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Bird-themed dances are nothing new. In addition to the likes of “Swan Lake” (in its numerous iterations, Hello, Matthew Bourne!), “The Firebird” and “The Dying Swan,” there was also Merce Cunningham’s 1991 “Beach Birds.”
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Juliana F. May’s “Optimistic Voices,” which premiered last week at BAM Fisher, was pitched as an exploration of the “tangled contradictions of family, eroticism, and motherhood.”
Continue Reading
In the summer of 2007, writer Stephen Manes, known for his best-selling Bill Gates biography, over thirty books for young adults and children, and for his work as a technology...
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Move over, Matthew Bourne, there is a new voice in theatrical dance plays. Choreographer Penny Saunders' bespoke production of “Sherlock,” performed by Grand Rapids Ballet, was not only a triumph in bringing literature’s favorite super sleuth to the stage in dance form, but is an early contender as one of the 2025-26 dance season’s very best.
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On the night of Halloween in South Bend, Indiana, I weave through costumed partygoers as I make my way to a special double bill at the University of Notre Dame’s DeBartolo Performing Arts Center.
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This fall, Japan Society is celebrating the centenary of legendary Japanese post-war author Yukio Mishima (1925-1970) with a series of works in theater, film, and dance inspired by his oeuvre.
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Powerhouse: International, the newly launched arts festival in Gowanus, Brooklyn, continued its fall offerings with the multidisciplinary work “Fampitaha, fampita, fampitàna,” co-presented with L’Alliance New York’s Crossing the Line Festival.
Continue Reading
In an animation that is woven through the performances of traditional dances in Indigenous Enterprise’s “Still Here,” a young boy watches a video of powwow musicians and dancers with his...
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It was apropos that I attended choreographer Wanjiru Kamuyu’s latest work, “Fragmented Shadows,” just before Halloween.
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Making its long anticipated debut at Sadler’s Wells, “Figures in Extinction" is perhaps the brightest new feather in Nederland Dans Theater’s cap.
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The final program of American Ballet Theatre’s fall season, titled “Innovations Past and Present,” featured the world premiere of Juliano Nunes “Have We Met!?” as well as two company gems: Alexei Ratmansky’s “Serenade after Plato’s Symposium” and George Balanchine’s “Theme and Variations.”
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Miriam Miller steps into the center and raises her arm with deliberation, pressing her palm upward to the vaulted Gothic ceiling of the cathedral.
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In a series called “Just Dance” on Nowness—a site I sometimes visit to see what’s up in the world of “genre busting” dance films that make it onto this stylized...
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Back in October, New York City Ballet got a new cowboy. His arrival occurred in the final section of George Balanchine’s “Western Symphony.”
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When Richard Move enters from stage left, their presence is already monumental. In a long-sleeved gown, a wig swept in a dramatic topnot, and their eyes lined in striking swoops, the artist presents themself in the likeness of Martha Graham—though standing at 6’4, they have more than a foot on the late modern dance pioneer.
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Perhaps not since Mikhail Fokine’s 1905 iconic “The Dying Swan” has there been as haunting a solo dance depiction of avian death as Aakash Odedra Company’s “Songs of the Bulbul” (2024).
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Dance, at its best, captures nuance particularly well, allowing us to feel deeply and purely. In its wordlessness, it places a primal reliance on movement and embodied knowledge as communication all its own. It can speak directly from the body to the heart, bypassing the brain’s drive to “make sense of.”
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“Racines”—meaning roots—stands as the counterbalance to “Giselle,” the two ballets opening the Paris Opera Ballet’s season this year.
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