The Sound of Dancing Feet
The Nrityagram Dance Ensemble returned to the Joyce Theater this October with a generous evening of new and old works under the umbrella title “Khaṅkhaṇā—the sound of dancing feet.”
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The Sound of Dancing Feet
The Nrityagram Dance Ensemble returned to the Joyce Theater this October with a generous evening of new and old works under the umbrella title “Khaṅkhaṇā—the sound of dancing feet.”
Continue Reading
Begin Again
Destruction is a loaded word, so blunt and final, it's hard to imagine a way to move forward from it. But if there was ever a choreographer who knew how to work from destruction it would be Omar Rajeh, and if there was ever a city that knew distraction too...
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I’ve always wondered what it was like to be in the audience of a Balanchine premiere, and on October 8th, when the New York City Ballet revived “Pithoprakta” for the first time in 57 years, I got the closest I will likely ever come to that experience.
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A New Opus
As the first evening that Gonzalo Garcia has programmed as Miami City Ballet artistic director, “American Rhythms” provides a glimpse into the future of one of America’s most prominent “Balanchine” companies.
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Classic Beauty
The curtain rises on a fairy-tale and the theatre around me all but disappears. There is the sensation that I am turning the pages of Charles Perrault’s 1697 telling of Sleeping Beauty.
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Back to the Future
I’ve always wondered what it was like to be in the audience of a Balanchine premiere, and on October 8th, when the New York City Ballet revived “Pithoprakta” for the first time in 57 years, I got the closest I will likely ever come to that experience.
Continue Reading
Begin Again
Destruction is a loaded word, so blunt and final, it's hard to imagine a way to move forward from it. But if there was ever a choreographer who knew how to work from destruction it would be Omar Rajeh, and if there was ever a city that knew distraction too well it would be Beirut.
Continue Reading
A New Opus
As the first evening that Gonzalo Garcia has programmed as Miami City Ballet artistic director, “American Rhythms” provides a glimpse into the future of one of America’s most prominent “Balanchine” companies.
FREE ARTICLEClassic Beauty
The curtain rises on a fairy-tale and the theatre around me all but disappears. There is the sensation that I am turning the pages of Charles Perrault’s 1697 telling of...
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More than a Vampire Story
It’s important for young dance artists to have the space, time, and resources to create. With its mission of giving autonomy to dancers, Pangea Dance Collective, founded in 2022, is working to offer just that.
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Inner Landscapes
Early in its 2026–27 season, the Paris Opera Ballet presents “Paysages intérieurs (Inner Landscapes),” and once again we are faced with the much-debated question of just how many contemporary mixed bills the company should programme.
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Lucy Guerin, Inc
At the end of the year, Lucy Guerin will step down as founding artistic director of Lucy Guerin Inc, with Melanie Lane to take the helm in 2027, and a new company name to be revealed.
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Salve for the Soul
Whether Rosalía really stood on pointe for four minutes while singing “Reliquia,” on “Saturday Night Live” recently, or it was some sort of television trickery, the sight of her steadfastness on toe came to mind when watching the brilliant dancers of Houston Ballet make their debut at Segerstrom Center for the Arts on opening night of their five-performance run of the West Coast premiere of “Sons de L’âme (Sounds of the Soul).”
Continue ReadingHealing Hike
A hike where art moments happen along the way is how dancer-choreographer Dominic Moore-Dunson described his site-specific, outdoor dance-theater work, “Black by Nature.”
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Balanchine, Evergreen
As a true balletomane, this writer can never get enough Balanchine. And true to form, American Contemporary Ballet kicked off its fifteenth season with “Pas de Deux,” three works by the master himself, George Balanchine, and another by Lincoln Jones, ACB’s savvy artistic director with a penchant for the man who helped change the art form in this country.
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Legend Retold
The most legendary figures are often the most misunderstood—reshaped over time into something that merely evokes the original rather than really resembling it.
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Page Notes
I’ve never thought about program notes and how much they help or hinder connecting to a new dance as much as I have since watching Jessica Lang’s creative association unfold with Pacific Northwest Ballet.
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Boston Ballet in Paris
For Boston Ballet’s third visit to Paris, the company brought what promised to be two surefire crowd-pleasers: Alexander Ekman’s “Cacti” and Akram Khan’s “Vertical Road (Reimagined).”
Continue ReadingDancing Your Way Home
As a Nor’easter wreaked havoc along the Mid-Atlantic seaboard, the wet winds calmed down enough by late afternoon to venture out to Alonzo King Lines Ballet that evening.
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On Criticism
On rare occasions, a dance seems to speak directly to me—often to my experiences as a dancer, sometimes to my humanity.
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Limón, Past and Present
I can’t take my eyes off the men. Stephen Haley, Joey Columbus, and Ian Debono each have solos in “Mazurkas” that emphasize the Limón posture full of elegance and pride.
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Weird and Whimsical
While the dancers traveled up from Florida, the Sarasota Ballet presented a taste of British sensibilities in its week-long engagement at the Joyce Theater.
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Dance as Duration
“This resting, patience” has been danced in cities ranging from Helsinki to Porto to Venice, and in all of them the crooning vocals of its most-repeated music, Burt Bacharach’s “What the World Needs Now Is Love,” must have been instantly familiar.
Continue ReadingSwooping In
In the Chunky Move Studios, for Caroline Meaden’s “Immacolata,” presented as part of Melbourne Fringe Festival, two banks of seats, on the diagonal, hold a room.
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