World-class review of ballet and dance.
Misty Copeland makes an observation. “I see,” she says, looking into the audience packed with attendees in formalwear, “a lot of people who care about ballet.”
Continue ReadingChamber music can be fun, too! That, at least, is the apparent message that violinist Johnny Gandelsman is trying to spread in his two-hour program, “Johnny Loves Johann.” He’s certainly not wrong.
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What makes a story stick across not just decades, but millennia? The longevity of ancient Greek drama points to an innate essentiality, but the variations of these works, too, have played a critical role in its durability.
Continue Reading“We are in a shambles.” This is the headline statement for Catherine Young’s touring work “Ciseach | An Embodied Manifesto” which will make its way through Ireland at a time when it is perhaps needed most.
Continue ReadingFive years ago Oakland Ballet launched its Dancing Moons Festival as a way to highlight Asian American and Pacific Islander choreographers in response to the surge of anti-AAPI hate during the height of the coronavirus pandemic.
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For its upcoming New York City Center season (April 23-26, 2026), Ballet Hispánico New York will present “Mujeres: Women in Motion,” programming that centers on Latina women who are shaping the language of dance.
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Misty Copeland makes an observation. “I see,” she says, looking into the audience packed with attendees in formalwear, “a lot of people who care about ballet.”
Continue Reading
Chamber music can be fun, too! That, at least, is the apparent message that violinist Johnny Gandelsman is trying to spread in his two-hour program, “Johnny Loves Johann.” He’s certainly not wrong.
Continue Reading
What makes a story stick across not just decades, but millennia? The longevity of ancient Greek drama points to an innate essentiality, but the variations of these works, too, have played a critical role in its durability.
Continue Reading
“We are in a shambles.” This is the headline statement for Catherine Young’s touring work “Ciseach | An Embodied Manifesto” which will make its way through Ireland at a time...
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Five years ago Oakland Ballet launched its Dancing Moons Festival as a way to highlight Asian American and Pacific Islander choreographers in response to the surge of anti-AAPI hate during the height of the coronavirus pandemic.
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Gibney Company’s season at the Joyce Theater was full of common threads, promising beginnings, and lingering energy.
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It seems fitting that as the world held its collective breath over violent threats from the US White House, the Martha Graham Dance Company would perform “Chronicle,” an anti-war statement from 1936, as the centerpiece for the opening of its New York City Center season.
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Perhaps best known for touring with New York City Ballet associate artistic director Wendy Whelan in her show “Restless Creature,” Joshua Beamish grew up dancing in his Canadian hometown of Kelowna, British Columbia, founding his own company when he was just 17.
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Ballet Unbound” was a diverse mixed repertory program that landed squarely in Ohio Contemporary Ballet’s sweet spot as a company presenting classical modern dance, and neo-classical and contemporary ballet works.
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It is a strange time to be celebrating our nation’s milestone birthday, our semiquincentennial.
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It’s hard to predict where Hubbard Street Dance Chicago will go next. Literally. Through the repertoire selections presented in the company’s two-week run at the Joyce Theater, the dancers demonstrate a particular aptitude for moving in a way that’s endlessly surprising.
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“The Juniper Tree” is a macabre fairy tale involving three feminine archetypes: mother, stepmother, daughter.
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La Scala Theatre’s ballet season featured a programme offering a snapshot of European choreography from 25 years ago.
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Meryl Tankard is somewhat of an Aussie dance legend. A choreographer of international renown, her works have been mounted and premiered on prestigious companies ranging from Royal Ballet of Flanders...
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The Mark Morris Dance Group, now celebrating its 45th anniversary, visited the Brooklyn Academy of Music for a quick late-March run with two topical dances that were new to New York: one heavy and one light.
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Do ballet trends bubble up cyclically, or did artistic directors collude to engineer this year’s “Firebird” mania? Suddenly this spring, the flaring-eyed creature immortalized in Stravinsky’s 1910 score is headlining programs at American Ballet Theatre, New York City Ballet, and Dance Theatre of Harlem, almost all at once.
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“Empreintes” featuring two new creations by Jess & Morgs and Marcos Morau, reads as a choreographic response to Walter Benjamin’s reflections on the work of art in the age of mechanical reproduction.
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Maurice Béjart would surely have been delighted to see La Seine Musicale’s vast Grande Salle, that striking structure seemingly floating on the river above the Île Seguin, filled for all six March performances of his company’s tour.
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Penn Live Arts presented Rennie Harris’s “Losing My Religion” last week as part of its America Unfinished Series, marking the country’s semiquincentennial.
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