World-class review of ballet and dance.
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.
Continue ReadingAt 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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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.
Continue Reading“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.
Continue Reading23-year-old Napoleon Bonaparte was a bystander in the streets of Paris during the August 10th assault on the Tuileries Palace.
Continue Reading
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.
Continue Reading
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.
Continue Reading
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.
Continue Reading
“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.
Continue Reading
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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The Thai classical dance form khon to most westerners brings about images of gilded and ornate centuries old dances, but there is a great deal of science to it.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
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If there’s anything Shu Kinouchi can’t do—dance-wise, that is—nobody’s told him yet. Indeed, this endlessly fascinating artist who was with Houston Ballet and Tulsa Ballet before joining L.A. Dance Project in 2020, again proved a compelling presence in the first of four solo performances seen at LADP’s black box space last weekend.
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It’s been 25 years since William Trevitt and Michael Nunn swapped the Royal Ballet for the contemporary scene, building an imaginative portfolio across the stage and screen in step with choreographers like Russell Maliphant, William Forsythe and Christopher Wheeldon.
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Dance on film is undoubtedly an integral element of the dance ecosystem, legendary works like Trisha Brown’s Watermotor or Anne Teresa de Keersmaeker’s Fase still capture the consciousness of contemporary...
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Within the ranks of American Ballet Theatre, 76 dancers—who will be appearing onstage at the Metropolitan Opera House in just a few weeks—share a common background: they’ve matriculated from ABT Studio Company, where they found their footing in between their training and their professional careers.
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As the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
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Near the end of her illuminating book on choreographer Buddy Bradley, Maureen Footer discusses Bradley’s work on Cecil Landau’s revue “Sauce Tartare.”
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The Philadelphia Ballet just premiered its current choreographer-in-residence, Juliano Nunes’s “Romeo and Juliet.”
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One of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies...
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Misery, grief, sorrow. However you want to cut it or label it, the depths of emotion are too irresistible a thing for artists to not attempt to emulate or articulate.
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“La Dame aux camélias” conveys the pain of the tragic love story between the celebrated, generous and doomed courtesan Marguerite Gautier and the passionate, idealistic and tormented Armand Duval.
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Fittingly, I caught Kaori Ito’s charming production “An Upside Down World” on Children’s Day, a national holiday in Japan.
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Joy is the goal of Parsons Dance. That is immediately apparent from the opening of the program for its New York season at the Joyce Theater: “Ludwig,” a brand-new David Parsons original, features all nine company dancers, smiling and dressed in varying shades of sunset oranges and yellows, moving vigorously to the second movement of Beethoven’s ninth symphony.
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Cathy Weis’ SoHo loft is haunted. This is not because of the skeleton that dangles on the wall, or the iron hand that floats ominously above the piano. 537 Broadway—or...
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