World-class review of ballet and dance.
In early June, the Scottish Ballet came to Koch Theater at Lincoln Center, New York, with “Mary, Queen of Scots” for a run of five performances.
Continue ReadingTwenty years on from its beginnings, Croí Glan, meaning “clear heart” in Irish, has been a leading voice in integrated dance in Ireland.
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A nearly 200-year-old story is having a moment. “Eugene Onegin,” the novel in verse by Alexander Pushkin, which published in 1833, has made its way to countless stages in ballet and opera adaptations in the past few months—the most recent being American Ballet Theatre’s production of “Onegin,” the John Cranko...
Continue ReadingThere is a tradition at play whenever the annual Flamenco Festival takes over Sadler’s Wells in the early summer, it is almost always swelteringly hot outside.
Continue ReadingAs part of a new two-week summer dance festival, Lincoln Center brings back a popular work by French choreographer Rachid Ouramdane first shown in NYC ten years ago. “Tordre,” which means to twist or contort, is a duet that operates as double solos.
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Entering the theater at Lincoln Center’s Alice Tully Hall, one hears birds chirping and the blowing of the wind. Haze swirls from the open stage revealing only the faint outline of a set built to resemble the windswept, sandstone rock formations of Wadi AlFann (Valley of the Arts) in the ancient oasis of AlUla in the Saudi Arabian desert.
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A celebrated performer, educator and arts leader, Christopher Charles McDaniel, who was born in 1992 in East Harlem, New York, fell in love with ballet at age seven and has never looked back.
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A nearly 200-year-old story is having a moment. “Eugene Onegin,” the novel in verse by Alexander Pushkin, which published in 1833, has made its way to countless stages in ballet and opera adaptations in the past few months—the most recent being American Ballet Theatre’s production of “Onegin,” the John Cranko ballet, which was originally created for the Stuttgart Ballet in 1965.
Continue Reading
In early June, the Scottish Ballet came to Koch Theater at Lincoln Center, New York, with “Mary, Queen of Scots” for a run of five performances.
Continue Reading
Twenty years on from its beginnings, Croí Glan, meaning “clear heart” in Irish, has been a leading voice in integrated dance in Ireland.
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There is a tradition at play whenever the annual Flamenco Festival takes over Sadler’s Wells in the early summer, it is almost always swelteringly hot outside.
Continue Reading
As part of a new two-week summer dance festival, Lincoln Center brings back a popular work by French choreographer Rachid Ouramdane first shown in NYC ten years ago. “Tordre,” which means to twist or contort, is a duet that operates as double solos.
Continue Reading
There is no such thing as a “Lucinda Childs vocabulary,” the choreographer herself clarifies in a pre-show talk with Gideon Lester, the artistic director and chief executive of Bard College’s Fisher Center. Inside the spectacular, Frank Gehry-designed building, the choreographer—who days before, celebrated her 86th birthday—is about two hours away from performing herself.
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Upon arrival, colour greets me, and how. A wall of colour and pattern by Jeffrey Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, it is joyous and intriguing, loaded and bright. Snaking up the two sides, in blue lettering, all caps, a tantalising premise: “The only way out is through.”
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“Sheltering,” Bangarra Dance Theatre’s new triple bill, having opened in Canberra on Ngunnawal Country, is on its national tour.
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Welcomed back to Los Angeles for the first time in 22 years (but who’s counting!), New York City Ballet made a triumphant return to the Dorothy Chandler Pavilion in two separate programs.
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Like picnicking in Central Park, catching the ferry to the Rockaways, or heading to Citifield for a Mets game, American Ballet Theatre’s “Swan Lake” is a well-established summer tradition for countless New Yorkers.
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Pointeworks is the new kid on the block in San Diego’s thriving dance scene. Founded by Sophie Williams, a dancer with Texas Ballet Theatre and a San Diego native who grew up training in Solana Beach, the company says it seeks to provide off-season work for dancers and highlight female choreographers.
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Conceived by a Frenchman in imperial Russia and restaged by a Russian in post-Cold War France, “La Bayadère” periodically returns to the Paris Opera stage with its fakirs, idols and opium dreams.
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A carousel spins in the middle of the grassy area outside Colonels Row on Governors Island. For the next three hours, mirrored vertical bars that form a cage on the...
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The life of artist Michelangelo Merisi da Caravaggio (1571-1610) is ripe for dramatic interpretation.
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It’s absolutely wonderful seeing a company at the top of their game. Scottish Dance Theatre at forty is a force to be reckoned with.
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Now in its second year, the Tate Modern’s Infinities Commission is awarded to a contemporary practitioner whose work proposes radical ways of thinking about performance, installation and time-based art.
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A ballet career necessitates lifelong scholarship. Professionals take a daily technique class that begins with the same pliés at the barre as absolute beginners. Most days at the School of American Ballet, New York City Ballet members are tucked into in a corner of the studio, honing their tendus alongside the top divisions.
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Jessica Lang is smack in the middle of a three-year stint as resident choreographer at Seattle’s Pacific Northwest Ballet. It’s an excellent artistic match that deserves to be followed closely,...
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