World-class review of ballet and dance.
Lloyd Knight, Principal Dancer entering his 20th season with the Martha Graham Dance Company, debuts his first one-man show as part of Works & Process at the Guggenheim on January 13th.
Continue ReadingThe Alvin Ailey American Dance Theater’s annual December residency at City Center featured four world premieres. I caught two: Hope Boykin’s “Finding Free” and Lar Lubovitch’s “Many Angels.”
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My favorite books of 2024 offer dance history from the artist’s point of view. Perhaps there is nothing too unusual about this, and yet, something about this trend feels special as we step with trepidation into the first days of 2025.
Continue Reading“It was the best of times, it was the worst of times,” so began Charles Dickens’s masterpiece, A Tale of Two Cities.
FREE ARTICLEI couldn’t stop thinking about hockey at the New York City Ballet’s “Nutcracker” this year, and not only because the stage appeared to be made of ice: there were a slew of spectacular falls one night I attended.
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My favorite books of 2024 offer dance history from the artist’s point of view. Perhaps there is nothing too unusual about this, and yet, something about this trend feels special as we step with trepidation into the first days of 2025.
Continue Reading
Lloyd Knight, Principal Dancer entering his 20th season with the Martha Graham Dance Company, debuts his first one-man show as part of Works & Process at the Guggenheim on January 13th.
Continue Reading
The Alvin Ailey American Dance Theater’s annual December residency at City Center featured four world premieres. I caught two: Hope Boykin’s “Finding Free” and Lar Lubovitch’s “Many Angels.”
Continue Reading
“It was the best of times, it was the worst of times,” so began Charles Dickens’s masterpiece, A Tale of Two Cities.
FREE ARTICLE
Elphaba (Cynthia Erivo) steps down the steps, rests her hat on the floor and takes in the Ozdust Ballroom in Wicked. She elevates her arm, bringing her bent wrist to her...
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The Sarasota Ballet does not do a “Nutcracker”—they leave that to their associate school. Instead, over the weekend, the company offered a triple bill of which just one ballet, Frederick Ashton’s winter-themed “Les Patineurs,” nodded at the season.
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I couldn’t stop thinking about hockey at the New York City Ballet’s “Nutcracker” this year, and not only because the stage appeared to be made of ice: there were a slew of spectacular falls one night I attended.
Continue Reading
Last week, during the first Fjord Review Dance Critics’ Festival, Mindy Aloff discussed and read from an Edwin Denby essay during “The Critic’s Process” panel.
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There are “Nutcrackers,” and then there’s American Contemporary Ballet’s “The Nutcracker Suite.”
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Is it as traditional as there being “The Nutcracker” or the British pantomime on at Christmas time, for there to be an alternative offering?
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To paraphrase that great song from “A Chorus Line,” the Los Angeles-based BodyTraffic gave a concert that might best be summed up as, “Dancers 10, Choreographers, well, 3.”
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As Highways Performance Space continues its 35th anniversary celebration, executive director Leo Garcia and artistic director Patrick Kennelly presented two special programs, each honoring titans of the post-modern dance world
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I can only imagine the challenge it might be for a creator to approach the cavernous 55,000 square foot drill hall of Park Avenue Armory in its raw state.
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’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
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Like two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
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“I can’t even stand it,” exclaimed Tina Finkelman Berkett about the Perenchio Foundation grant that her dance troupe, BodyTraffic, recently received.
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Beneath a tree also over a century old is where I meet dancer and artist Eileen Kramer, and where the 60-minute loop will end. And it feels fitting, on the heels of her recent death on November 15, 2024, at 110-years-of-age, to start here, at effectively the end of Sue Healey’s screening of On View: Icons.
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Hubbard Street Dance Chicago’s Fall Series will entertain you. Deftly curated, with choreographers ranging from Aszure Barton to Bob Fosse, Hubbard’s dancers ably morph through this riveting programme of showmanship.
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Like the productions he creates, Jack Lister is three things: enigmatic, polished, and intentional. He is both artist and observer, subject and spectator; his innate polarity creates a unique, yet candidly earnest, profile.
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Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
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