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Bespoke Cinderella
REVIEWS | Steve Sucato

Bespoke Cinderella

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.

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Imaginary Seatmate
MEMOIR | Michael Quinn

Imaginary Seatmate

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.

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The Rest is Silence
REVIEWS | Eoin Fenton

The Rest is Silence

“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.

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Firing the Canon

Firing the Canon

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.

Performance

“No. 60” by Pichet Klunchun

Place

London’s Queer East festival, London, may 2026

Words

Eoin Fenton

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Wall Flowers
REVIEWS | Victoria Looseleaf

Wall Flowers

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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Men at Work
REVIEWS | Sara Veale

Men at Work

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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A New Angle
DANCE FILM | FEATURES | Eoin Fenton

A New Angle

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 dance fanatics and arty Instagram pages.

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Running Start

Running Start

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...

Performance

American Ballet Theatre Studio Company: “La Bayadère (Pas d’Action)” after Marius Petipa, “Saudade” by Katie Currier, “An American in Paris (Pas de Deux)” by Christopher Wheeldon, “Variations for Three” by Tiler Peck, “Cornbread” by Twyla Tharp, “Cerulean Skies” by Brady Farrar, “Grand Pas Classique” after Victor Gsovsky, “The Weeping Willow” by Kyle Abraham, “Bernstein in a Bubble” by Alexei Ratmansky

Place

Joyce Theater, New York, NY, May 15, 2026

Words

Rebecca Deczynski

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Jack of Hearts
REVIEWS | Eoin Fenton

Jack of Hearts

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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School Report
REVIEWS | Rachel Howard

School Report

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 practically to the exosphere.

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Misery Business

Misery Business

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.

Performance

99 Art Company: “Ekah” and “Abyss” by Hye-rim Jang

Place

A Festival of Korean Dance, The Place, London, UK, May 2026

Words

Eoin Fenton

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Pretty Woman
REVIEWS | Elsa Giovanna Simonetti

Pretty Woman

“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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Ode to Joy
REVIEWS | Rebecca Deczynski

Ode to Joy

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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Haunted House
REVIEWS | Cecilia Whalen

Haunted House

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 Weis Acres, as the multi-media artist Weis dubs it—is enchanted by spirits of artists and eccentrics past.

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Be Like Water

Be Like Water

Success, as so many artists know, can be a devilishly mixed blessing. On the San Francisco Bay Area’s aerial dance scene, which counts site-specific innovators Joanna Haigood and Jo Kreiter...

Performance

ARMA/Amelia Rudolph: “Water Moves”

Place

Joe Goode Annex, San Francisco, California, May 7, 2026

Words

Rachel Howard

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