World-class review of ballet and dance.
Talk about intensity! The American premiere of “Mirlitons” last weekend at the Nimoy as part of CAP UCLA’s season and presented by Dance Reflections by Van Cleef & Arpels, proved a powerful showcase for two multi-talented bodies: dancer, singer and performance artist François Chaignaud; and Aymeric Hainaux, visual artist, beatboxer,...
Continue ReadingSacramento Ballet is a 72-year-old company in the capital city of California with 25 dancers, a strong history of dancing the works of George Balanchine, and a growing school and second company. As of six weeks ago, Sacramento Ballet also has a new artistic director: Tiit Helimets.
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With just two weeks penciled in at Lincoln Center’s David H. Koch Theatre, American Ballet Theatre’s fall season is a bright but brief standout in the fall dance calendar.
Continue ReadingBack in Hollywood’s “silent era”—that is, when there was actual sound accompanying the movies, just sound produced, as at a ballet, by musical instruments rather than live speech—the legal entity now known to lawyers and stickler cineastes as “Warner Bros.”
Continue ReadingOf all the places Juliet and Romeo could have fled to after Friar Laurence’s plan succeeded, they chose Paris. At least, this is how Ben Duke and Solène Weinachter imagined their fate in “Juliet and Romeo” (2018), now performed by Emily Terndrup and John Kendall in the title roles.
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Talk about intensity! The American premiere of “Mirlitons” last weekend at the Nimoy as part of CAP UCLA’s season and presented by Dance Reflections by Van Cleef & Arpels, proved a powerful showcase for two multi-talented bodies: dancer, singer and performance artist François Chaignaud; and Aymeric Hainaux, visual artist, beatboxer, poet and dancer, the duo delivering a 70-minute treatise on stamina, art, sound and, yes, even a dollop of spirituality.
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Sacramento Ballet is a 72-year-old company in the capital city of California with 25 dancers, a strong history of dancing the works of George Balanchine, and a growing school and second company. As of six weeks ago, Sacramento Ballet also has a new artistic director: Tiit Helimets.
Continue Reading
With just two weeks penciled in at Lincoln Center’s David H. Koch Theatre, American Ballet Theatre’s fall season is a bright but brief standout in the fall dance calendar.
Continue Reading
Back in Hollywood’s “silent era”—that is, when there was actual sound accompanying the movies, just sound produced, as at a ballet, by musical instruments rather than live speech—the legal entity now known to lawyers and stickler cineastes as “Warner Bros.”
Continue Reading
Of all the places Juliet and Romeo could have fled to after Friar Laurence’s plan succeeded, they chose Paris. At least, this is how Ben Duke and Solène Weinachter imagined...
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London City Ballet, the erstwhile resident company of Sadler’s Wells, has just launched its third season since Christopher Marney resurrected the outfit in 2024, fashioning it into a small-scale touring troupe.
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Well, ring-a-ding-ding! With a show which feels far more cohesive than last year, those Strictly guys are back in the Fair City to pay homage to all things Sin City.
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While the world of ballet is considered a rarefied one, what happens when a dancer who trained at the prestigious Paris Opéra Ballet School abandons the art form—or rather integrates said terpsichorean skills—into a solo sans pointe shoes or ballet slippers, sporting, instead, sneakers? The answer can be found in Dimitri Chamblas’ stunning and thought-provoking work, “Ulysse Marion.”
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There is something uncanny about the timing of the Paris Opera’s revival of Kenneth MacMillan’s “L’Histoire de Manon” at the Palais Garnier in October 2026, as turmoil unfolds in the streets of Paris.
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The Nrityagram Dance Ensemble returned to the Joyce Theater this October with a generous evening of new and old works under the umbrella title “Khaṅkhaṇā—the sound of dancing feet.”
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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.
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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.
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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...
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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.
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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.
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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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