World-class review of ballet and dance.
Cell phones and motorcycle headlights illuminated the stage at the Teatro América during a recent performance of the ballet company ProDanza. When the music also failed, audience members joined dancers in singing along, ensuring the show could go on.
Continue ReadingHow do we navigate a balance between the collective and the individual? How do we negotiate strength and flexibility? How do we value tradition while embracing innovation?
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“Vibrations” closes the Opéra Garnier’s 2025/26 season with what might be read as a triptych on dance’s future, past, and present.
Continue ReadingParticles or string? Dark matter or light? The National Ballet of Japan offers up a contemporary double-bill of dance, loosely connected by visual metaphors to modern physics.
Continue ReadingWhen Yvonne Rainer choreographed “Trio A” on herself in 1965, it took six months to work out the four-and-half-minute solo. But for many early audience members, its effect was immediate and electric.
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Cell phones and motorcycle headlights illuminated the stage at the Teatro América during a recent performance of the ballet company ProDanza. When the music also failed, audience members joined dancers in singing along, ensuring the show could go on.
Continue Reading
How do we navigate a balance between the collective and the individual? How do we negotiate strength and flexibility? How do we value tradition while embracing innovation?
Continue Reading
“Vibrations” closes the Opéra Garnier’s 2025/26 season with what might be read as a triptych on dance’s future, past, and present.
Continue Reading
Particles or string? Dark matter or light? The National Ballet of Japan offers up a contemporary double-bill of dance, loosely connected by visual metaphors to modern physics.
Continue Reading
When Yvonne Rainer choreographed “Trio A” on herself in 1965, it took six months to work out the four-and-half-minute solo. But for many early audience members, its effect was immediate...
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Nina Ananiashvili was still thrilling audiences as an exceptional ballerina when, in 2004, she got a call from Georgia’s newly elected president, Mikheil Saakashvili.
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City living is not for all of us. For many there is nothing more appealing than that stillness of nature, that sense of suspended time.
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“Flower and Decoy” is stark, darkly poetic dance theater. Combining traditional Japanese aesthetics, supernatural horror and street dance, Tatsuya Hasegawa leads his all-male dance troupe, Dazzle, through an intricate, abstract contemplation of myth and mortality.
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“Don Quixote” is a funny ballet—and I mean funny both as in odd and as in hilarious. This season, the American Ballet Theatre presented its fourth staging of this comedic classic, by artistic director Susan Jaffe and regisseur Susan Jones.
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Entering the theater at Lincoln Center’s Alice Tully Hall, one hears birds chirping and the blowing of the wind. Haze swirls from the open stage revealing only the faint outline...
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A celebrated performer, educator and arts leader, Christopher Charles McDaniel, who was born in 1992 in East Harlem, New York, fell in love with ballet at age seven and has never looked back.
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A nearly 200-year-old story is having a moment. “Eugene Onegin,” the novel in verse by Alexander Pushkin, which published in 1833, has made its way to countless stages in ballet and opera adaptations in the past few months—the most recent being American Ballet Theatre’s production of “Onegin,” the John Cranko ballet, which was originally created for the Stuttgart Ballet in 1965.
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In early June, the Scottish Ballet came to Koch Theater at Lincoln Center, New York, with “Mary, Queen of Scots” for a run of five performances.
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Twenty years on from its beginnings, Croí Glan, meaning “clear heart” in Irish, has been a leading voice in integrated dance in Ireland.
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There is a tradition at play whenever the annual Flamenco Festival takes over Sadler’s Wells in the early summer, it is almost always swelteringly hot outside.
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As part of a new two-week summer dance festival, Lincoln Center brings back a popular work by French choreographer Rachid Ouramdane first shown in NYC ten years ago. “Tordre,” which means to twist or contort, is a duet that operates as double solos.
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There is no such thing as a “Lucinda Childs vocabulary,” the choreographer herself clarifies in a pre-show talk with Gideon Lester, the artistic director and chief executive of Bard College’s Fisher Center. Inside the spectacular, Frank Gehry-designed building, the choreographer—who days before, celebrated her 86th birthday—is about two hours away from performing herself.
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Upon arrival, colour greets me, and how. A wall of colour and pattern by Jeffrey Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, it is joyous and intriguing, loaded and bright. Snaking up the two sides, in blue lettering, all caps, a tantalising premise: “The only way out is through.”
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“Sheltering,” Bangarra Dance Theatre’s new triple bill, having opened in Canberra on Ngunnawal Country, is on its national tour.
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Welcomed back to Los Angeles for the first time in 22 years (but who’s counting!), New York City Ballet made a triumphant return to the Dorothy Chandler Pavilion in two...
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