World-class review of ballet and dance.
Touted as a “Halloween destination for ballet and horror fans alike,” American Contemporary Ballet, now in its thirteenth season—a feat in and of itself for any dance company—is presenting, “LA’s Fatal Attraction: “Inferno” (2017), “Burlesque” (2018), and “The Rite” (2023), in repertory throughout October.
Continue ReadingWhen I first read Ian McEwan’s Atonement at university, my lecturer told us that, upon finishing the book, she threw it on the ground.
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The American Ballet Theater’s Fall Season opened at the Koch Theater with a program called “Innovation Past and Present,” which featured two world premieres and a company staple.
Continue ReadingTo children or the young at heart, it’s pure magic. “Mermaid,” the beloved Hans Christian Anderson fairy tale, reworked and dazzling to behold, is a new original production from K-Ballet Tokyo.
Continue ReadingAfter joining American Ballet Theatre as an apprentice in 2013, and becoming a member of the corps de ballet in January 2014, where his roles included Wilfred in “Giselle,” and Notary’s Clerk in “La Fille mal gardée,” Patrick Frenette, at 29, was finally promoted to soloist in July of this...
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In a small white studio space, the line between performers and audience is being blurred. Choreographer Meytal Blanaru, born in Israel but now Brussels based, has devised this piece along with the dancers, and it’s multifaceted indeed, a study in hope and community spirit, with many playful detours along the way.
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Staging the biographical details of someone’s life is by no means an easy task; doing so for a figure who was complex and controversial amplifies this charge to a new level.
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I’ve been thinking about content for a while now. Without it, blogs, websites, and other social media die. But content, as an adjective, has a different meaning: to be pleased, gratified or even, complacent. It is also the root of the adjective contentious.
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Artistic director and guest curator for this year’s Tempo Dance Festival in New Zealand is proud Ngāti Tūwharetoa man, Moss Te Ururangi Patterson.
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The American Ballet Theater’s Fall Season opened at the Koch Theater with a program called “Innovation Past and Present,” which featured two world premieres and a company staple.
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When I first read Ian McEwan’s Atonement at university, my lecturer told us that, upon finishing the book, she threw it on the ground.
Continue Reading
Touted as a “Halloween destination for ballet and horror fans alike,” American Contemporary Ballet, now in its thirteenth season—a feat in and of itself for any dance company—is presenting, “LA’s Fatal Attraction: “Inferno” (2017), “Burlesque” (2018), and “The Rite” (2023), in repertory throughout October.
Continue Reading
To children or the young at heart, it’s pure magic. “Mermaid,” the beloved Hans Christian Anderson fairy tale, reworked and dazzling to behold, is a new original production from K-Ballet Tokyo.
Continue Reading
After joining American Ballet Theatre as an apprentice in 2013, and becoming a member of the corps de ballet in January 2014, where his roles included Wilfred in “Giselle,” and Notary’s Clerk in “La Fille mal gardée,” Patrick Frenette, at 29, was finally promoted to soloist in July of this year.
Continue Reading
There are certain elements you can expect to find in any piece by Hofesh Shechter: a deafening, grungy, and distorted score composed by the choreographer himself; dim lighting and smoke...
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A colourful, decorative rug is positioned centre stage. “It lasted pretty well,” a disembodied voice comments through the speaker system, explaining how it was chosen for its pattern, which is ideal for concealing dirt.
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This is decidedly not your mother’s “Romeo and Juliet.” Indeed, Benjamin Millepied’s “Romeo & Juliet Suite,” choreographed for the superb members of his L.A. Dance Project, featured a female duo (Daphne Fernberger and Nayomi Van Brunt) in the titular roles at the Wallis Annenberg Center for the Performing Arts on Thursday.
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This October, the Canada National Ballet returned to London for the first time since 2013 with a series of performances at Sadler’s Wells Theatre.
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Seated on the floor before an overhead projector, Arabella Frahn-Starkie could be in her studio, working, sifting, collaging, thinking.
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Kaatsbaan Cultural Park in New York’s Hudson River Valley presented a program of new works over the final weekend in September as part of its 2024 Annual Festival.
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This year’s Biennale Danza Venezia Silver Lion award went to Zurich-based choreographer Trajal Harrell. A house director at the Schauspielhaus Zurich, and the founding director of the Schauspielhaus Zurich Dance Ensemble, he brought the Ensemble to FringeArts Festival for the Philadelphia premiere of his 2022 “The Köln Concert” last month.
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What's your poison? Tom of Finland, or Boy George? Madonna, or Marilyn? Top, or bottom? There have been so many recent dramas of late, focussing on eighties' queer culture: The Line of Beauty, Pride, Love Song to Lavender Menace, and It's A Sin, among others.
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The New York City Ballet’s 2024 Fall Fashion Gala was once again a smashing fundraising success, pulling in 3.2 million dollars and packing the house with slew of well-dressed celebrities and socialites.
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Jessica Lang’s “Black Wave,” her first creation as Pacific Northwest Ballet’s new resident choreographer, is an elusive allegory wrapped inside a metaphor wrapped inside a dream. Rarely have I so wanted to ask a choreographer what she intended.
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To celebrate the 90th anniversary of the School of American Ballet, advanced students performed Balanchine’s “Serenade” (also 90 this year) on a special, one-off New York City Ballet program.
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