World-class review of ballet and dance.
Los Angeles–based dance artist Jay Carlon knew that the proscenium stage couldn’t house his 2024 work, “Wake,” in its fullness. So he moved it elsewhere: to a rave.
Continue ReadingIngrid Silva’s expression is calm, the side of her mouth upturned a few degrees, as if she’s delighting in the reception of her own joke.
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The Sarasota Ballet’s return to Jacob’s Pillow for five days of a triple bill that included two little-seen works by Sir Frederick Ashton and a world premiere by Jessica Lang, was charged with anticipation and curiosity.
Continue ReadingChoreography wasn’t on Lia Cirio’s radar when artistic director Mikko Nissinen asked her to participate in Boston Ballet’s ChoreograpHER initiative in 2018.
Continue ReadingStephen Petronio has an odd way of celebrating his 40th anniversary. He and his board have decided this season will be the company’s last.
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The Sarasota Ballet’s return to Jacob’s Pillow for five days of a triple bill that included two little-seen works by Sir Frederick Ashton and a world premiere by Jessica Lang, was charged with anticipation and curiosity.
Continue Reading
Los Angeles–based dance artist Jay Carlon knew that the proscenium stage couldn’t house his 2024 work, “Wake,” in its fullness. So he moved it elsewhere: to a rave.
Continue Reading
Choreography wasn’t on Lia Cirio’s radar when artistic director Mikko Nissinen asked her to participate in Boston Ballet’s ChoreograpHER initiative in 2018.
Continue Reading
Ingrid Silva’s expression is calm, the side of her mouth upturned a few degrees, as if she’s delighting in the reception of her own joke.
Continue Reading
French choreographer Lea Tirabasso makes dense, intricate work which explores existential concerns connected with science, nature and morality. Witty, vivid and visceral, her work pushes beyond simple genres or choreographic...
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Why Not Theatre’s bold, multidisciplinary adaptation of the Mahabharata drew a rapt audience at Lincoln Center’s vibrant summer arts festival “Summer for the City.”
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Stephen Petronio has an odd way of celebrating his 40th anniversary. He and his board have decided this season will be the company’s last.
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Washington, D.C.’s 100° June weather wasn’t the only thing generating heat in the city. Chamber Dance Project’s 11th annual D.C. summer season production, “Red Angels,” produced its own scorching intensity as one of this summer’s early triumphs.
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A ballet body is essentially a deformed body. The older and more experienced the dancer, the more evident–and beautiful–this deformation is.
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After a successful dancing career with, among others, Dutch National Ballet, Finnish National Ballet, and finally San Francisco Ballet, where he was a principal dancer for a decade, Mikko Nissinen...
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To celebrate its 85th anniversary, the American Ballet Theatre filled its summer season with exciting debuts.
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The world-renowned Czech choreographer and multimedia artist Jiří Kylián was recently honored with a retrospective festival at the Oslo opera house.
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Until March 2022, Olga Smirnova was one of the top dancers at the Bolshoi, performing roles in a large swathe of the repertory, everything from Odette in “Swan Lake” to Marguerite Gauthier in John Neumeier’s “Lady of the Camellias” and Bianca in Jean-Christophe Maillot’s “Taming of the Shrew.”
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A delightful production, served with verve: the National Ballet of Japan’s recent performance of “Alice in Wonderland” was an unabashed celebration of imagination, deftly showcasing all the wacky wonder of Christopher Wheeldon’s modern ballet classic.
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Casual perfection. Studied grace. Spontaneous elegance. These are but a few of the words that came to mind when this writer observed nine gorgeous dancers from LA Dance Project and...
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So, shoe me! Seriously, there have been countless iterations of the ballet “Cinderella,” all pivoting around footwear, whether pointe, glass or golden slippers. Indeed, this particular terpsichorean fairytale can be traced back to the early nineteenth century, but it wasn’t until Prokofiev finished his brooding Romantic score in 1944 that choreographers, including Frederick Ashton, Rudolf Nureyev and Alexei Ratmansky, began telling the tale of fairy godmothers, crystal coaches and a rags-to-riches heroine.
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There’s a small moment in Rena Butler’s new “Cracks” that I think only could have become possible at Pacific Northwest Ballet, which commissioned it.
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This year marked the 60th anniversary of the School of American Ballet’s annual Workshop Performances. The programming was unusually democratic this year.
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We are all of us, beings, in a constant state of continual change. We humans are a composition of oxygen, carbon, and hydrogen.
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The title of Catherine Tharin’s latest production, “In the Wake of Yes,” is a reference to “Molly Bloom’s Soliloquy,” an inner monologue on womanhood and sexuality, from James Joyce’s Ulysses....
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