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Devotion and Desire
REVIEWS | Gracia Haby

Devotion and Desire

Sir Kenneth MacMillan began his choreography for “Manon” with the pas de deux, and from this shining, central point spun outward. Building the story from its heart, almost as if from the inside out, the pas de deux reveals not only the emotional connection between the two dancers, but their place in the world.

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Diamonds are Forever
REVIEWS | Rachel Howard

Diamonds are Forever

It’s amusing to read in Pacific Northwest Ballet’s generally exceptional program notes that George Balanchine choreographed the triptych we now know as “Jewels” because he visited Van Cleef & Arpels and was struck by inspiration. I mean, perhaps visiting the jeweler did further tickle his imagination, but—PR stunt, anyone?

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Boundless Beauty
REVIEWS | Karen Hildebrand

Boundless Beauty

As I watch one after another pastel tutu clad ballerina bourrée into the arms of a white-tighted danseur, a melody not credited on the program floats through my brain. You know the one.

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Misty Copeland's Legacy

Misty Copeland's Legacy

Misty Copeland’s upcoming retirement from American Ballet Theatre—where she made history as the first Black female principal dancer and subsequently shot to fame in the ballet world and beyond—means many...

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Ground Control
REVIEWS | Gracia Haby

Ground Control

Moss Te Ururangi Patterson describes his choreographic process having a conversation with other elements. As he describes pushing himself under the waves, and a feeling of meditative, buoyancy as he floated in space, the impression of light beneath the water was paramount.

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Dreams of Dance
REVIEWS | Garth Grimball

Dreams of Dance

All reviews of live performance are an exercise in hindsight. No matter how diligent a notetaker I will forever be rearticulating my in-the-moment responses into something that is ideally a cogent and cohesive response to a work.

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To Excavate and Elevate

To Excavate and Elevate

This season opener from English National Ballet gathers four markedly different works to showcase the gamut of the company’s evolving repertoire.

Performance

English National Ballet: George Balanchine’s “Themes and Variations,” Martha Graham's “Errand into the Maze,” William Forsythe's “Herman Schmermann” 

Place

Sadler's Wells, London, UK, October 1, 2025

Words

Sara Veale

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Song of Resistance
REVIEWS | Elsa Giovanna Simonetti

Song of Resistance

It will be impossible to walk past the Panthéon again without recalling what happened at the Théâtre des Champs-Élysées in late September 2025: the extraordinary transformation—verging on possession—of Germaine Acogny into Joséphine Baker.

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An Ideal Don Quixote
REVIEWS | Kris Kosaka

An Ideal Don Quixote

The curtain opens on a stark, grey stage. Cut off from the vitality of the world, an aged man, shabby and nondescript, exists only for his books. Inspired suddenly by a romantic vision, he forces a lazing servant to attend him and leaves behind this colorless prison, carrying his fantastical determination along with the dated accoutrements of a crusading knight.

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Sparkling Shiraz

Sparkling Shiraz

Semantic satiation is the psychological phenomenon in which repetition causes a word or phrase to temporarily lose meaning for the listener.

Performance

Armin Hokmi: “Shiraz”

Place

Daehakro Arts Theater, Seoul, Korea, September 24, 2025

Words

Garth Grimball

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Moving Memory
REVIEWS | Gracia Haby

Moving Memory

I make my way up the stairs at the Substation. Along all four sides of the large room, rows of seats are arranged. Event warning: sudden loud noises. Content warning: death. I find a seat along the long side wall, with my back to the window.

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The Art of Stillness
BOOKSHELF | INTERVIEWS | Cecilia Whalen

The Art of Stillness

Martha Graham said that “movement never lies”—but what of stillness? For NYC Dance Project’s latest book, Martha Graham Dance Company: 100 Years, photographers Ken Browar and Deborah Ory set out to explore Martha Graham’s legacy through photos.

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Points of View
REVIEWS | Gracia Haby

Points of View

From the back of the stage, a single searchlight points in the direction of the audience, and as it does, it sweeps across the forms of seven dancers in Stephanie Lake’s “Seven Days.”

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Stardust
REVIEWS | Lorna Irvine

Stardust

“Are we cancelled now?” James Jordan queries mischievously, eyes shining. He’s just made some chancy quips regarding recent Strictly Come Dancing controversies, alluding rather than directly addressing the issues. “We were the good boys on all of our series,” he insists.

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Into the Wilde

Into the Wilde

At a time when the arts in America are under attack and many small dance companies are quietly disappearing, San Francisco’s dance scene—for decades second in its volume of activity...

Performance

“The Axe: a long line of broken white people,” by Alley Wilde; Eight/Moves Season 2, choreography by Mia J. Chong and Tsai Hsi Hung

Place

CounterPulse, San Francisco CA, September 11, 2025; ODC Theater, San Francisco CA, September 12, 2025

Words

Rachel Howard

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