World-class review of ballet and dance.
A dancer’s lineage can tell you a lot. The places they’ve trained, the mentors they’ve had, the repertoire they’ve inscribed into their long-term memory all have an impact on the ways that they move, attack a set of steps, strategize a quick petit allegro or a dreamy adagio. So, too,...
Continue Reading“So Are We,” from Sol León and Paul Lightfoot—former spouses who share a long-running creative career—is something of a full-circle event.
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OG Anunoby’s fingertip putback of Jalen Brunson’s Hail Mary three-pointer. Jordan Staal’s diving sniper goal. It’s playoff season, a time of year dominated by unbelievable, high-stakes athleticism across several sports (see also the French Open, the FIFA World Cup).
Continue ReadingCarly Topazio, the founding director of the Rosin Box Project, knows what a challenge it is to stand out amidst San Diego’s many dance companies.
Continue ReadingWhen is a music video also a dance film? This is a question that I’ve often asked myself as a result of the propensity amongst curators, speakers, museums, arts institutions and more to sort, arrange, label, and otherwise categorize works that contribute to popular arts and culture.
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In defiance of the stars overhead, and destiny foretold, Joseph Caley’s Romeo falls, and utterly so, for Grace Carroll’s Juliet, on the opening night of the Australian Ballet’s Melbourne season of John Cranko’s “Romeo and Juliet.”
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It’s hard to think of a company as fresh as Rambert at one hundred years old. The company, founded by icon of British dance Marie Rambert, has prided itself on being the leading contemporary voice within the UK.
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There’s few artists you can truly label as iconoclastic within any discipline, let alone dance, but when discussing Rocio Molina few other labels seem to fit the bill.
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The void will appear soon, we are told, to invite us into an hour-long escape. The pre-show announcement is more poetic than prescriptive: “We are not islands scattered in a melancholy dark sea,” the voice of god adds, and shortly thereafter, the curtain rises on BalletCollective’s latest work, “Translation,” choreographed by founder Troy Schumacher.
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A dancer’s lineage can tell you a lot. The places they’ve trained, the mentors they’ve had, the repertoire they’ve inscribed into their long-term memory all have an impact on the...
Performance
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“So Are We,” from Sol León and Paul Lightfoot—former spouses who share a long-running creative career—is something of a full-circle event.
Continue Reading
OG Anunoby’s fingertip putback of Jalen Brunson’s Hail Mary three-pointer. Jordan Staal’s diving sniper goal. It’s playoff season, a time of year dominated by unbelievable, high-stakes athleticism across several sports (see also the French Open, the FIFA World Cup).
Continue Reading
Carly Topazio, the founding director of the Rosin Box Project, knows what a challenge it is to stand out amidst San Diego’s many dance companies.
Continue Reading
When is a music video also a dance film? This is a question that I’ve often asked myself as a result of the propensity amongst curators, speakers, museums, arts institutions and more to sort, arrange, label, and otherwise categorize works that contribute to popular arts and culture.
Continue Reading
To launch her tenure as artistic director for the National Ballet of Japan, Miyako Yoshida added Sir Peter Wright’s “Swan Lake” (with Galina Samsova) to the repertoire, explaining the choice...
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Words
In the forest, it is never silent. Everything is in transmission with something else, be it tree roots to soil, plants to animals and insects, or warning cries that ripple through the forest when predators approach.
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At the vertical and horizontal intersection of two white lines on a darkened stage, performer Layla Meadows and her corresponding organic outline appears. For this restaging of “Glow,” a work choreographed by Gideon Obarzanek for the Melbourne Festival in 2006, it is Meadows’s time to be scanned and surveyed in this duet between a dancer and a machine.
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With its “sprawl to the wall” density, the city of Los Angeles seems a good fit for democratizing dance, i.e., presenting site-specific movement in an array of venues—both indoors and out—all free to the public. Indeed, Benjamin Millepied, the founder of L.A. Dance Project, began the series in the French capital with his Paris Dance Project in 2024, then called La Ville Dansée, with the idea of exporting it to his adopted city in a co-production.
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In Maia Chao’s “Being Moved,” the audience was ushered up to the 7th floor of the Whitney Museum of American Art in a large, crowded elevator with all sixty or so passengers carrying on conversations at maximum volume.
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They’re saucy, sweet and stunning! They’re the ballerinas of American Contemporary Ballet and they’re helping close the company’s 2025-26 season with performances of “Spectacular Balanchine,” a program devoted to the...
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Unlike its messy neighbor, Los Angeles, one would think that establishing a ballet company in the relatively serene Orange County would be welcomed.
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The current global zeitgeist of uncertainty and the tendency to jump to judgment inspired veteran dancer-choreographer Beth Corning's latest dance-theater work, “Foolish Assumptions.”
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At a time when the roots of toxic masculinity are still being hotly debated within society (I'd argue nature and nurture aren't necessarily mutually exclusive bedfellows) the excellent “Boys Don't Dance” arrives, fully formed at a festival for children, but with enough layers to appease any audience.
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Just as The Wizard of Oz to the United States or Pinocchio to Italy, Alice’s Adventures in Wonderland is the coming-of-age novel of English childhood. The reception of Christopher Wheeldon’s ballet of the same name depends heavily on this legacy.
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Director and choreographer Naoya Homan’s reimagining of “Aleko,” a one-act ballet where art takes center stage, dazzles the eye with a tragic meditation on the limits of freedom.
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