World-class review of ballet and dance.
On the night of Halloween in South Bend, Indiana, I weave through costumed partygoers as I make my way to a special double bill at the University of Notre Dame’s DeBartolo Performing Arts Center.
Continue ReadingThis fall, Japan Society is celebrating the centenary of legendary Japanese post-war author Yukio Mishima (1925-1970) with a series of works in theater, film, and dance inspired by his oeuvre.
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Move over, Matthew Bourne, there is a new voice in theatrical dance plays. Choreographer Penny Saunders' bespoke production of “Sherlock,” performed by Grand Rapids Ballet, was not only a triumph in bringing literature’s favorite super sleuth to the stage in dance form, but is an early contender as one of...
Continue ReadingPowerhouse: International, the newly launched arts festival in Gowanus, Brooklyn, continued its fall offerings with the multidisciplinary work “Fampitaha, fampita, fampitàna,” co-presented with L’Alliance New York’s Crossing the Line Festival.
Continue ReadingIn an animation that is woven through the performances of traditional dances in Indigenous Enterprise’s “Still Here,” a young boy watches a video of powwow musicians and dancers with his grandfather on Youtube.
Continue Reading
Move over, Matthew Bourne, there is a new voice in theatrical dance plays. Choreographer Penny Saunders' bespoke production of “Sherlock,” performed by Grand Rapids Ballet, was not only a triumph in bringing literature’s favorite super sleuth to the stage in dance form, but is an early contender as one of the 2025-26 dance season’s very best.
Continue Reading
On the night of Halloween in South Bend, Indiana, I weave through costumed partygoers as I make my way to a special double bill at the University of Notre Dame’s DeBartolo Performing Arts Center.
Continue Reading
This fall, Japan Society is celebrating the centenary of legendary Japanese post-war author Yukio Mishima (1925-1970) with a series of works in theater, film, and dance inspired by his oeuvre.
Continue Reading
Powerhouse: International, the newly launched arts festival in Gowanus, Brooklyn, continued its fall offerings with the multidisciplinary work “Fampitaha, fampita, fampitàna,” co-presented with L’Alliance New York’s Crossing the Line Festival.
Continue Reading
In an animation that is woven through the performances of traditional dances in Indigenous Enterprise’s “Still Here,” a young boy watches a video of powwow musicians and dancers with his...
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It was apropos that I attended choreographer Wanjiru Kamuyu’s latest work, “Fragmented Shadows,” just before Halloween.
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Making its long anticipated debut at Sadler’s Wells, “Figures in Extinction" is perhaps the brightest new feather in Nederland Dans Theater’s cap.
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The final program of American Ballet Theatre’s fall season, titled “Innovations Past and Present,” featured the world premiere of Juliano Nunes “Have We Met!?” as well as two company gems: Alexei Ratmansky’s “Serenade after Plato’s Symposium” and George Balanchine’s “Theme and Variations.”
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Miriam Miller steps into the center and raises her arm with deliberation, pressing her palm upward to the vaulted Gothic ceiling of the cathedral.
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In a series called “Just Dance” on Nowness—a site I sometimes visit to see what’s up in the world of “genre busting” dance films that make it onto this stylized...
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Back in October, New York City Ballet got a new cowboy. His arrival occurred in the final section of George Balanchine’s “Western Symphony.”
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When Richard Move enters from stage left, their presence is already monumental. In a long-sleeved gown, a wig swept in a dramatic topnot, and their eyes lined in striking swoops, the artist presents themself in the likeness of Martha Graham—though standing at 6’4, they have more than a foot on the late modern dance pioneer.
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Perhaps not since Mikhail Fokine’s 1905 iconic “The Dying Swan” has there been as haunting a solo dance depiction of avian death as Aakash Odedra Company’s “Songs of the Bulbul” (2024).
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Dance, at its best, captures nuance particularly well, allowing us to feel deeply and purely. In its wordlessness, it places a primal reliance on movement and embodied knowledge as communication all its own. It can speak directly from the body to the heart, bypassing the brain’s drive to “make sense of.”
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“Racines”—meaning roots—stands as the counterbalance to “Giselle,” the two ballets opening the Paris Opera Ballet’s season this year.
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“Giselle” is a ballet cut in two: day and night, the earth of peasants and vine workers set against the pale netherworld of the Wilis, spirits of young women betrayed in love. Between these two realms opens a tragic dramatic fracture—the spectacular and disheartening death of Giselle.
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Michele Wiles’ Park City home is nestled in the back of a wooded neighborhood, hidden from the road by pines and deciduous trees that are currently in the midst of their autumn transformations.
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I joined choreographer and artistic director Cathy Marston over a video call at the end of another day of rehearsals.
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Times are hard for ballet. With national funding that favours the new and the bold, ticket prices rising, and accusations of elitism, only a fool would start a company focused on works of the past.
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It was a grand night of show and—well, show more—as eight members of L.A. Dance Project strutted their gorgeous, technically brilliant stuff in the US premiere of “Gems.”
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