World-class review of ballet and dance.
Just as The Wizard of Oz to the United States or Pinocchio to Italy, Alice’s Adventures in Wonderland is the coming-of-age novel of English childhood. The reception of Christopher Wheeldon’s ballet of the same name depends heavily on this legacy.
Continue ReadingDirector and choreographer Naoya Homan’s reimagining of “Aleko,” a one-act ballet where art takes center stage, dazzles the eye with a tragic meditation on the limits of freedom.
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At a time when the roots of toxic masculinity are still being hotly debated within society (I'd argue nature and nurture aren't necessarily mutually exclusive bedfellows) the excellent “Boys Don't Dance” arrives, fully formed at a festival for children, but with enough layers to appease any audience.
Continue ReadingIn San Diego, a surprisingly robust number of ballet companies compete for a relatively small audience. While two such companies, City Ballet of San Diego and Golden State Ballet, present mixed repertoire programs, San Diego Ballet performs almost exclusively the work of director-choreographer Javier Velasco.
Continue ReadingJulie Mehretu’s current exhibition at the Marian Goodman Gallery is astronomical. Our Days, Like a Shadow (a non-abiding hauntology) is a series of large, new, multicolored paintings that seem to float like planets, inviting viewers to walk around and in between them as if orbiting through a cosmic labyrinth.
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They’re saucy, sweet and stunning! They’re the ballerinas of American Contemporary Ballet and they’re helping close the company’s 2025-26 season with performances of “Spectacular Balanchine,” a program devoted to the choreography of George Balanchine.
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Unlike its messy neighbor, Los Angeles, one would think that establishing a ballet company in the relatively serene Orange County would be welcomed.
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The current global zeitgeist of uncertainty and the tendency to jump to judgment inspired veteran dancer-choreographer Beth Corning's latest dance-theater work, “Foolish Assumptions.”
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At a time when the roots of toxic masculinity are still being hotly debated within society (I'd argue nature and nurture aren't necessarily mutually exclusive bedfellows) the excellent “Boys Don't Dance” arrives, fully formed at a festival for children, but with enough layers to appease any audience.
Continue Reading
Just as The Wizard of Oz to the United States or Pinocchio to Italy, Alice’s Adventures in Wonderland is the coming-of-age novel of English childhood. The reception of Christopher Wheeldon’s...
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Director and choreographer Naoya Homan’s reimagining of “Aleko,” a one-act ballet where art takes center stage, dazzles the eye with a tragic meditation on the limits of freedom.
Continue Reading
In “Me Time—Danza al Museo” by choreographer Camilla Monga, dance becomes a tool for deeper seeing. Through choreography, the museum becomes a space of cognitive and emotional activation. The result is an encounter that lingers long after the performance ends.
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In San Diego, a surprisingly robust number of ballet companies compete for a relatively small audience. While two such companies, City Ballet of San Diego and Golden State Ballet, present mixed repertoire programs, San Diego Ballet performs almost exclusively the work of director-choreographer Javier Velasco.
Continue Reading
Julie Mehretu’s current exhibition at the Marian Goodman Gallery is astronomical. Our Days, Like a Shadow (a non-abiding hauntology) is a series of large, new, multicolored paintings that seem to float like planets, inviting viewers to walk around and in between them as if orbiting through a cosmic labyrinth.
Continue Reading
An insistent electronic beat suffuses the dark-wood auditorium while people are milling about and locating their seats.
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Doug Varone and Dancers celebrated its 40th anniversary at the Joyce this final week of May with a time-honored formula—“something old and something new.”
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The world premiere of Remi Wörtmeyer's "La Bohème" marked a seminal moment in the history of BalletMet. The two-act production was unlike any that the 48-year-old Columbus, Ohio-based company has ever staged and showed a marked ascent in its artistic merit.
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In rehearsal, Dionne Figgins is exacting. She has an eagle eye as she runs choreography in short sections, making sure each detail is accounted for.
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Where do you go when you’re at the theatre? Are you looking for escape or confrontation? Do you want to weep for the world or tap your toe? In their latest tour to London for A Festival of Korean Dance, Korea National Contemporary Dance Company straddles somewhere in the middle.
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Around the corner from the crowds, billboards, Bubba Gump Shrimp and the Hard Rock Cafe, one can now find a decidedly more refined respite in the midst of midtown Manhattan.
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San Francisco Ballet delivers one of the most intense home seasons in the dance world, a scheduling crucible that artistic director Tamara Rojo, in her four years of leadership, has tried to change without success.
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Cleveland Ballet's new “Cinderella,” choreographed by artistic director Timour Bourtasenkov, was the culmination of the company's steady growth in size, quality, and stature since its founding in 2014.
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At the memorial for Joan Acocella, held at the New York Public Library for the Performing Arts, in the fall of 2025, I was drawn to the only red chair in the auditorium.
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“Hamlet” for many brings about fear. Not for its ghosts or its bloody end, but rather nightmarish memories of English classes where Shakespeare’s longest play was the source of ire for students across the English-speaking world.
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23-year-old Napoleon Bonaparte was a bystander in the streets of Paris during the August 10th assault on the Tuileries Palace.
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