World-class review of ballet and dance.
For me, an undeniable highlight of Christmas 2024 was watching Wallace and Gromit: Vengeance Most Fowl with my family.
Continue ReadingThe Ragamala Dance Company returned to New York’s Joyce Theater with a visual feast for the eyes and stimulating food for thought with their new production “Children of Dharma.”
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The Martha Graham Dance Company performed two of its Greek myth-themed works at Philadelphia’s Suzanne Roberts Theatre over the weekend.
Continue ReadingTalking Pointes, the podcast that shines a light on life in dance and the performing arts, is back for a fourth season.
FREE ARTICLEThe Alvin Ailey American Dance Theater’s annual December residency at City Center featured four world premieres. I caught two: Hope Boykin’s “Finding Free” and Lar Lubovitch’s “Many Angels.”
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In today's episode we speak with superstar Dr. Brandi Cole. You may have seen Dr. Brandi on your screens as she worked to keep the Matilda's on the field during the Women's World Cup in 2023, and then at the Paris Olympics.
FREE ARTICLE
The Martha Graham Dance Company performed two of its Greek myth-themed works at Philadelphia’s Suzanne Roberts Theatre over the weekend.
Continue Reading
Talking Pointes, the podcast that shines a light on life in dance and the performing arts, is back for a fourth season.
FREE ARTICLE
The Ragamala Dance Company returned to New York’s Joyce Theater with a visual feast for the eyes and stimulating food for thought with their new production “Children of Dharma.”
Continue Reading
For me, an undeniable highlight of Christmas 2024 was watching Wallace and Gromit: Vengeance Most Fowl with my family.
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My favorite books of 2024 offer dance history from the artist’s point of view. Perhaps there is nothing too unusual about this, and yet, something about this trend feels special as we step with trepidation into the first days of 2025.
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Lloyd Knight, Principal Dancer entering his 20th season with the Martha Graham Dance Company, debuts his first one-man show as part of Works & Process at the Guggenheim on January 13th.
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The Alvin Ailey American Dance Theater’s annual December residency at City Center featured four world premieres. I caught two: Hope Boykin’s “Finding Free” and Lar Lubovitch’s “Many Angels.”
Continue Reading
“It was the best of times, it was the worst of times,” so began Charles Dickens’s masterpiece, A Tale of Two Cities.
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Elphaba (Cynthia Erivo) steps down the steps, rests her hat on the floor and takes in the Ozdust Ballroom in Wicked. She elevates her arm, bringing her bent wrist to her...
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The Sarasota Ballet does not do a “Nutcracker”—they leave that to their associate school. Instead, over the weekend, the company offered a triple bill of which just one ballet, Frederick Ashton’s winter-themed “Les Patineurs,” nodded at the season.
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I couldn’t stop thinking about hockey at the New York City Ballet’s “Nutcracker” this year, and not only because the stage appeared to be made of ice: there were a slew of spectacular falls one night I attended.
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Last week, during the first Fjord Review Dance Critics’ Festival, Mindy Aloff discussed and read from an Edwin Denby essay during “The Critic’s Process” panel.
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There are “Nutcrackers,” and then there’s American Contemporary Ballet’s “The Nutcracker Suite.”
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Is it as traditional as there being “The Nutcracker” or the British pantomime on at Christmas time, for there to be an alternative offering?
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To paraphrase that great song from “A Chorus Line,” the Los Angeles-based BodyTraffic gave a concert that might best be summed up as, “Dancers 10, Choreographers, well, 3.”
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As Highways Performance Space continues its 35th anniversary celebration, executive director Leo Garcia and artistic director Patrick Kennelly presented two special programs, each honoring titans of the post-modern dance world
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I can only imagine the challenge it might be for a creator to approach the cavernous 55,000 square foot drill hall of Park Avenue Armory in its raw state.
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’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
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Like two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
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