World-class review of ballet and dance.
As the first evening that Gonzalo Garcia has programmed as Miami City Ballet artistic director, “American Rhythms” provides a glimpse into the future of one of America’s most prominent “Balanchine” companies.
FREE ARTICLEThe curtain rises on a fairy-tale and the theatre around me all but disappears. There is the sensation that I am turning the pages of Charles Perrault’s 1697 telling of Sleeping Beauty.
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It’s important for young dance artists to have the space, time, and resources to create. With its mission of giving autonomy to dancers, Pangea Dance Collective, founded in 2022, is working to offer just that.
Continue ReadingEarly in its 2026–27 season, the Paris Opera Ballet presents “Paysages intérieurs (Inner Landscapes),” and once again we are faced with the much-debated question of just how many contemporary mixed bills the company should programme.
Continue ReadingAt the end of the year, Lucy Guerin will step down as founding artistic director of Lucy Guerin Inc, with Melanie Lane to take the helm in 2027, and a new company name to be revealed.
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I’ve always wondered what it was like to be in the audience of a Balanchine premiere, and on October 8th, when the New York City Ballet revived “Pithoprakta” for the first time in 57 years, I got the closest I will likely ever come to that experience.
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Destruction is a loaded word, so blunt and final, it's hard to imagine a way to move forward from it. But if there was ever a choreographer who knew how to work from destruction it would be Omar Rajeh, and if there was ever a city that knew distraction too well it would be Beirut.
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As the first evening that Gonzalo Garcia has programmed as Miami City Ballet artistic director, “American Rhythms” provides a glimpse into the future of one of America’s most prominent “Balanchine” companies.
FREE ARTICLE
The curtain rises on a fairy-tale and the theatre around me all but disappears. There is the sensation that I am turning the pages of Charles Perrault’s 1697 telling of Sleeping Beauty.
Continue Reading
It’s important for young dance artists to have the space, time, and resources to create. With its mission of giving autonomy to dancers, Pangea Dance Collective, founded in 2022, is...
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Early in its 2026–27 season, the Paris Opera Ballet presents “Paysages intérieurs (Inner Landscapes),” and once again we are faced with the much-debated question of just how many contemporary mixed bills the company should programme.
Continue Reading
At the end of the year, Lucy Guerin will step down as founding artistic director of Lucy Guerin Inc, with Melanie Lane to take the helm in 2027, and a new company name to be revealed.
Continue Reading
Whether Rosalía really stood on pointe for four minutes while singing “Reliquia,” on “Saturday Night Live” recently, or it was some sort of television trickery, the sight of her steadfastness on toe came to mind when watching the brilliant dancers of Houston Ballet make their debut at Segerstrom Center for the Arts on opening night of their five-performance run of the West Coast premiere of “Sons de L’âme (Sounds of the Soul).”
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A hike where art moments happen along the way is how dancer-choreographer Dominic Moore-Dunson described his site-specific, outdoor dance-theater work, “Black by Nature.”
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As a true balletomane, this writer can never get enough Balanchine. And true to form, American Contemporary Ballet kicked off its fifteenth season with “Pas de Deux,” three works by...
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The most legendary figures are often the most misunderstood—reshaped over time into something that merely evokes the original rather than really resembling it.
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I’ve never thought about program notes and how much they help or hinder connecting to a new dance as much as I have since watching Jessica Lang’s creative association unfold with Pacific Northwest Ballet.
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For Boston Ballet’s third visit to Paris, the company brought what promised to be two surefire crowd-pleasers: Alexander Ekman’s “Cacti” and Akram Khan’s “Vertical Road (Reimagined).”
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As a Nor’easter wreaked havoc along the Mid-Atlantic seaboard, the wet winds calmed down enough by late afternoon to venture out to Alonzo King Lines Ballet that evening.
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On rare occasions, a dance seems to speak directly to me—often to my experiences as a dancer, sometimes to my humanity.
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I can’t take my eyes off the men. Stephen Haley, Joey Columbus, and Ian Debono each have solos in “Mazurkas” that emphasize the Limón posture full of elegance and pride.
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While the dancers traveled up from Florida, the Sarasota Ballet presented a taste of British sensibilities in its week-long engagement at the Joyce Theater.
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“This resting, patience” has been danced in cities ranging from Helsinki to Porto to Venice, and in all of them the crooning vocals of its most-repeated music, Burt Bacharach’s “What the World Needs Now Is Love,” must have been instantly familiar.
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In the Chunky Move Studios, for Caroline Meaden’s “Immacolata,” presented as part of Melbourne Fringe Festival, two banks of seats, on the diagonal, hold a room.
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Upon arrival, two tall screens reveal a kaleidoscopic, fluid slither of serpents, as I find a seat in the downstairs Sylvia Staehli Theatre at Danceshouse, for Weichen Cui’s “In Green,...
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