World-class review of ballet and dance.
“Specky Clark” opens with a bang, then a whimper. The bang is the titular Specky’s mother, dropping dead onto the kitchen floor.
Continue ReadingThe sought-after choreographer Aszure Barton and award-winning composer Ambrose Akinmusire bend their individual arcs toward one another in their collaborative, multi-disciplinary work titled “A a | a B : Bend,” presented as part of Lincoln Center’s Pasculano Collaborative for Contemporary Dance.
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The love story is foundational to ballet, versions both tragic and not. This is the tradition in which “Trio Élégiaque,” Brady Farrar’s first choreographic commission for American Ballet Theatre, fits most comfortably. But beyond this, the Rachmaninoff-set ballet eschews convention.
Continue ReadingThere's a wonderful collection of photographs from 1911 of Nijinsky taken by Auguste Bert. Nijinsky was 21 and at the peak of his dance career.
Continue ReadingPhiladelphia Ballet’s artistic director Ángel Corella made a daring program decision with this triple bill, called “Dance at High Velocity.”
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For a Jewish man, Jerome Robbins sure had a clear idea of heaven—in the ballet realm, anyway. In two elegiac dances made less than a year apart, “In Memory Of…” and “Quiet City,” he had dancers in white doing low arabesque flies in a shaft of light emanating from the back left corner of the stage.
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To travel around, like the Earth in its recurrent, elliptical revolution around the sun, is no mean feat. Touring is a complicated, lengthy and costly affair.
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“Specky Clark” opens with a bang, then a whimper. The bang is the titular Specky’s mother, dropping dead onto the kitchen floor.
Continue Reading
The sought-after choreographer Aszure Barton and award-winning composer Ambrose Akinmusire bend their individual arcs toward one another in their collaborative, multi-disciplinary work titled “A a | a B : Bend,” presented as part of Lincoln Center’s Pasculano Collaborative for Contemporary Dance.
Continue Reading
There's a wonderful collection of photographs from 1911 of Nijinsky taken by Auguste Bert. Nijinsky was 21 and at the peak of his dance career.
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The love story is foundational to ballet, versions both tragic and not. This is the tradition in which “Trio Élégiaque,” Brady Farrar’s first choreographic commission for American Ballet Theatre, fits most comfortably. But beyond this, the Rachmaninoff-set ballet eschews convention.
Continue Reading
Philadelphia Ballet’s artistic director Ángel Corella made a daring program decision with this triple bill, called “Dance at High Velocity.”
Continue Reading
Unlike the bloodthirsty monster of many “Dracula” ballets, Carolina Ballet's new production frames the title character as a tragic figure with some classic story-ballet Prince qualities.
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There must be snow lightly dusting the shoulders. Mirlitons spin spritely and a striped, delectable flute. There must be magic and awe, in all its guises, and the reassurance that though the King Rat is nearby, crown askew, all is right in the world.
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Since 2013, the American Ballet Theatre has moved into the David H. Koch Theater for a Fall Season as soon as the New York City Ballet has moved out.
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“City Lights,” choreographed by Alastair Marriott for the National Ballet of Japan under artistic director Miyako Yoshida, made its world premiere this month in Tokyo, spinning the iconic 1931 Charles Chaplin movie of the same name to pure balletic gold.
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Musubi, the interconnectedness of all things across space and time, is a central concept in Japan’s ancient spiritual worldview, Shintoism.
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Talk about intensity! The American premiere of “Mirlitons” last weekend at the Nimoy as part of CAP UCLA’s season and presented by Dance Reflections by Van Cleef & Arpels, proved a powerful showcase for two multi-talented bodies: dancer, singer and performance artist François Chaignaud; and Aymeric Hainaux, visual artist, beatboxer, poet and dancer, the duo delivering a 70-minute treatise on stamina, art, sound and, yes, even a dollop of spirituality.
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Sacramento Ballet is a 72-year-old company in the capital city of California with 25 dancers, a strong history of dancing the works of George Balanchine, and a growing school and second company. As of six weeks ago, Sacramento Ballet also has a new artistic director: Tiit Helimets.
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With just two weeks penciled in at Lincoln Center’s David H. Koch Theatre, American Ballet Theatre’s fall season is a bright but brief standout in the fall dance calendar.
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Back in Hollywood’s “silent era”—that is, when there was actual sound accompanying the movies, just sound produced, as at a ballet, by musical instruments rather than live speech—the legal entity now known to lawyers and stickler cineastes as “Warner Bros.”
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Of all the places Juliet and Romeo could have fled to after Friar Laurence’s plan succeeded, they chose Paris. At least, this is how Ben Duke and Solène Weinachter imagined their fate in “Juliet and Romeo” (2018), now performed by Emily Terndrup and John Kendall in the title roles.
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London City Ballet, the erstwhile resident company of Sadler’s Wells, has just launched its third season since Christopher Marney resurrected the outfit in 2024, fashioning it into a small-scale touring troupe.
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Well, ring-a-ding-ding! With a show which feels far more cohesive than last year, those Strictly guys are back in the Fair City to pay homage to all things Sin City.
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While the world of ballet is considered a rarefied one, what happens when a dancer who trained at the prestigious Paris Opéra Ballet School abandons the art form—or rather integrates...
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