Raymonda Revival
Asami Maki’s 2004 reworking of Marius Pepita’s “Raymonda” for the National Ballet of Japan dials up the wow-factor at every level.
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Daughters of the Evening
In October 1942, within four days of one another, two Douglas Dunns entered the world—one in Scotland, one in California.
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Numbers Game
Almost mirroring the geopolitical situation, contemporary dance in the West—already in the USA and soon in Europe—is showing signs of wear and tear, if not decline.
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The New York City Ballet’s orchestra tackled two new pieces at this year’s Spring Gala: Edouard Lalo’s “Symphonie Espagnole,” with the star violinist Hilary Hahn debuting alongside them in the pit—her first time ever performing while submerged in subterranean darkness—and the Rolling Stones’ “Satisfaction.”
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Romeo Revealed
Rudolf Nureyev’s “Romeo and Juliet” is built with a finely calibrated balance of choreographic structure, theatrical intelligence, and historical awareness.
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Pretty as a Picaresque
“Too much sanity may be madness!” Carlos Acosta’s “Don Quixote” revival is proudly, fittingly quixotic—a confetti cannon of cheerful characterisations and vibrant visuals that culminate in an actual confetti cannon.
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From the Streets to a World Stage
You can hear it before you see it. The sound of chatter, sneakers squeaking against the floor, the booming DJs reverberating through space.
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Gala Style
The New York City Ballet’s orchestra tackled two new pieces at this year’s Spring Gala: Edouard Lalo’s “Symphonie Espagnole,” with the star violinist Hilary Hahn debuting alongside them in the pit—her first time ever performing while submerged in subterranean darkness—and the Rolling Stones’ “Satisfaction.”
Continue Reading
Daughters of the Evening
In October 1942, within four days of one another, two Douglas Dunns entered the world—one in Scotland, one in California.
Continue ReadingNumbers Game
Almost mirroring the geopolitical situation, contemporary dance in the West—already in the USA and soon in Europe—is showing signs of wear and tear, if not decline.
Performance
Place
Words
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Romeo Revealed
Rudolf Nureyev’s “Romeo and Juliet” is built with a finely calibrated balance of choreographic structure, theatrical intelligence, and historical awareness.
Continue Reading
Pretty as a Picaresque
“Too much sanity may be madness!” Carlos Acosta’s “Don Quixote” revival is proudly, fittingly quixotic—a confetti cannon of cheerful characterisations and vibrant visuals that culminate in an actual confetti cannon.
Continue Reading
Breaking Bread
As a journalist and critic, I am often privy to an artist’s process before viewing their work. This insight pays off as an audience member, offering new ways of allowing a piece to come to life before my eyes.
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An Original Giselle
We ballet fans grow irrationally attached to the productions of the classics we grow up with—taking in a different “Swan Lake” or “Giselle” from the one we know can make us feel like sensitive children refusing to eat the non-Kraft-brand mac ‘n cheese.
Continue ReadingSculptural Lines
The idea of bringing together the Louvre’s Michel-Ange / Rodin. Corps vivants exhibition, on view from mid-April to late July, and an evening of pas de deux danced by Paris...
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New Frontiers
Crystal Pite, Medhi Walerski and Johan Inger belong to a shared artistic milieu, and each has cultivated a significant relationship with Ballet British Columbia, directed by Walerski himself since 2020.
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A State of Grace
Few nights at the ballet are as tantalising as the opening night of the Australian Ballet’s “Romeo & Juliet” at the Sydney Opera House.
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Power Couple Energy
There's something glorious about watching a married couple dancing in sync. It's the shared looks, smiles, in-jokes and sense of being completely intuitive, working in symbiosis.
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Tranquil Intrigue
The title of this dance interpretation of The Tempest highlights a notable departure from canon. In “We Caliban,” Shobana Jeyasingh imagines Shakespeare’s titular native in the collective sense—a tribe, a spirit and a place at once.
Continue ReadingRare Birds
It is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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Firebird Rising
Long before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
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Too Good to be True
When we think of countries that have shaped the world of dance our mind will often drift to the United States, Russia, or Germany. But what of Luxembourg?
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Looking Forward
In times of rapid change, predicting the road ahead can seem to be a fool’s errand. But on a spring afternoon at Lincoln Center, I feel confident in this assertion: the future of dance is very bright.
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Happy Days
The programme of the Paris Opera Ballet School’s annual show for 2026 is shaped by a return to origins. Compared with recent editions, what stands out is its pronounced tendency to look backwards, less through canonical classics than through the recreation of an idealised past.
Continue ReadingHere's to You, Morricone
Aterballetto, the main contemporary company in Italy (now a national choreographic centre), made a hit two years commissioning a new creation by Marcos Morau: “Notte Morricone” (Morricone Night). The Spanish...
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