World-class review of ballet and dance.
After a quiet August, the New York City dance calendar fills up almost impossibly quickly, with one particular program generating ample, and justified, hype. With its first program, New York City Center’s Fall for Dance Festival kick-starts the season with a jolt of energy.
Continue Reading“Blue is the colour of the open sky, of water, freedom and depths we cannot fathom.” This is the mission statement for tonight’s bill from National Dance Company Wales, the first curated programme from new artistic director Bakani Pick-Up.
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Anne Teresa De Keersmaeker hit the Théâtre de Chaillot like a bomb, as “Rosas danst Rosas” took over the theatre for a sold-out run this September, bringing with it the irreverence of the Belgian avant-garde of the 1980s.
Continue ReadingWhen London’s Dance Umbrella festival launched in 1978, its future was uncertain. Would festival-goers and funders love or loathe the radical contemporary dance it presented?
Continue ReadingDance has always captivated me, but it very rarely grips me in the same way as the other things I like to watch—horror movies and cult documentaries—do.
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The lights dim and the mystical Eye of Horus commands our focus. Hieroglyphics and distinctive carvings flank the famous Egyptian symbol of resurrection as the overture swells and the drop curtain morphs into a portal to the past.
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Fresh from performing the concert version of George Balanchine’s “Who Cares?” at the Hollywood Bowl earlier this month, Los Angeles Ballet mounted a tribute to “American Icons” which included Jerome Robbins “The Cage,” Paul Taylor’s “Dilly Dilly,” and the return of artistic director Melissa Barak’s “Wavelength” for an evening at the Broad Stage in Santa Monica.
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Born in 1969 to a pair of gifted dancers—Marilyn Jones and Garth Welch—in Melbourne, Australia, it only seemed natural that their son, Stanton Welch, would follow in his parents’ balletic footsteps.
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Malandain Ballet Biarritz is approaching the end of an era. After nearly three decades at its helm, Thierry Malandain will hand over the direction of the Centre Chorégraphique National to Martin Harriague in January 2027.
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After a quiet August, the New York City dance calendar fills up almost impossibly quickly, with one particular program generating ample, and justified, hype. With its first program, New York...
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“Blue is the colour of the open sky, of water, freedom and depths we cannot fathom.” This is the mission statement for tonight’s bill from National Dance Company Wales, the first curated programme from new artistic director Bakani Pick-Up.
Continue Reading
Anne Teresa De Keersmaeker hit the Théâtre de Chaillot like a bomb, as “Rosas danst Rosas” took over the theatre for a sold-out run this September, bringing with it the irreverence of the Belgian avant-garde of the 1980s.
Continue Reading
When London’s Dance Umbrella festival launched in 1978, its future was uncertain. Would festival-goers and funders love or loathe the radical contemporary dance it presented?
Continue Reading
Dance has always captivated me, but it very rarely grips me in the same way as the other things I like to watch—horror movies and cult documentaries—do.
Continue Reading
With a soundtrack of crashing ocean waves, the opening 30 seconds of the stunning dance short Heartache codirected by Iker Karrera and Alberto D. Centeno delivers a series of singular and...
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BalletMet has joined the ranks of ballet companies who have added a choreographic competition to their season.
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What form might radical compassion take? If you tease apart an acronym for cultivating mindfulness, and allow a herd of horses to gallop through the middle, what might arise?
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There’s not a whole lot that’s new in this programme of new works from Alvin Ailey, which I mean in the best way possible.
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So often, dancers are treated as vessels for a choreographer’s vision. Movements are imprinted on their bodies and they must, to the best of their abilities, convince the audience that they believe.
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There’s hot, and then there’s blistering, as was evidenced when “Flamenco! María Bermúdez Convivencias,” was presented to the nearly sold-out crowd at the Ford on Saturday night.
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Like Eve with the apple, the story of Pandora’s box hinges on a clear divide—the ideal before and the sullied after.
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It hasn’t taken Ingrid Silva long to establish herself as an exciting emerging choreographic talent.
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Founded in 2012, the Malpaso Dance Company of Cuba has toured internationally to great acclaim, with its unique mission of showcasing the best of international contemporary dance repertory while nurturing new Cuban choreographic voices.
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In the first half of tonight’s double bill by Scottish Ballet, Chinese percussionist Beibei Wang whacks her drums with such force, she breaks her drumstick.
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Who doesn’t love a little Gershwin on a hot, humid night in the Cahuenga Pass, i.e., the Hollywood Bowl?
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