Dancing Your Way Home
As the Nor’easter wreaked havoc along the Mid-Atlantic seaboard, the wet winds calmed down enough by late Saturday afternoon to venture out to Alonzo King Lines Ballet that evening.
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Dancing Your Way Home
As the Nor’easter wreaked havoc along the Mid-Atlantic seaboard, the wet winds calmed down enough by late Saturday afternoon to venture out to Alonzo King Lines Ballet that evening.
Continue Reading
Swooping In
In the Chunky Move Studios, for Caroline Meaden’s “Immacolata,” presented as part of Melbourne Fringe Festival, two banks of seats, on the diagonal, hold a room.
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“This resting, patience” has been danced in cities ranging from Helsinki to Porto to Venice, and in all of them the crooning vocals of its most-repeated music, Burt Bacharach’s “What the World Needs Now Is Love,” must have been instantly familiar.
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On the Fringes
Upon arrival, two tall screens reveal a kaleidoscopic, fluid slither of serpents, as I find a seat in the downstairs Sylvia Staehli Theatre at Danceshouse, for Weichen Cui’s “In Green, In White—Metamorphosis of The White Snake,” presented as part of Melbourne Fringe Festival 2026.
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Fashionable Fall
In approaching a New York City Ballet Fall Fashion Gala commission, choreographers have two choices: make a dance that hinges upon the fashion, or make a dance regardless of the fashion, and hope that the costumes enhance rather than detract from the steps.
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Dance as Duration
“This resting, patience” has been danced in cities ranging from Helsinki to Porto to Venice, and in all of them the crooning vocals of its most-repeated music, Burt Bacharach’s “What the World Needs Now Is Love,” must have been instantly familiar.
Continue Reading
Swooping In
In the Chunky Move Studios, for Caroline Meaden’s “Immacolata,” presented as part of Melbourne Fringe Festival, two banks of seats, on the diagonal, hold a room.
Continue Reading
On the Fringes
Upon arrival, two tall screens reveal a kaleidoscopic, fluid slither of serpents, as I find a seat in the downstairs Sylvia Staehli Theatre at Danceshouse, for Weichen Cui’s “In Green, In White—Metamorphosis of The White Snake,” presented as part of Melbourne Fringe Festival 2026.
Continue ReadingFashionable Fall
In approaching a New York City Ballet Fall Fashion Gala commission, choreographers have two choices: make a dance that hinges upon the fashion, or make a dance regardless of the...
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Shakespearean Twist
It’s a drag to report that I had the urge to walk out of my first performance back in NYC after a long summer break.
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Leading the Pack
Things seem to be clicking in place for Mamela Nyamza. Her latest work “The Herd/Less” is touring the world while her recognition as a choreographer with a distinction for the subversive and political has earned her a Silver Lion for dance at the Venice Biennale.
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Ronald K Brown, Raw and Resilient
After taking a field trip in the second grade to see the Alvin Ailey American Dance Theater, Ronald K. Brown was inspired to take his first dance class at Bedford Stuyvesant Restoration Corporation, a Brooklyn-based community center.
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Dance with Defiance
As much as it is a cliché to reference, there is something special in finding a work that so aptly fits that famous quote from George Balanchine: “See the music. Hear the dance.”
Continue ReadingWild Things
Wei Wang begins as any faun does: alone and center stage, awakened from a reverie and looking a touch wobbly.
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The Screen is Always Greener
Coming in hot off their premiere at the Paris Opera Ballet, rising creative duo Jess & Morgs present “Deepfake.”
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Subversions of the Ideal
There’s a palpable intent to the swerving compositions of Pam Tanowitz’s “Pastoral:” the mannered choreography, with its long, soft angles and consciously discursive phrasing.
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Un/Natural Behaviour
A night with Thick & Tight might look a little different to a standard evening of contemporary dance, in a few ways.
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It’s the Taking Part that counts
It’s not often that you’ll get three competition kids together with the goal of not being the best. That was the goal of dancers Charlotte Mclean and Jack Anderson in collaboration with composer Malin Lewis.
Continue ReadingCharacter Dance
You can't see the first character who appears in Kashia Kancey's “I Believed It Too,” which was presented at Baryshnikov Arts September 24-26. From behind the audience enters a veiled...
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Northern Soul
Northern Ballet is the little company that could. Often forgotten and in the shadow of larger UK companies, there is a sense of a new momentum since the takeover by Federico Bonneli of the Leeds-based outfit.
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Power Play
The lights dim and the mystical Eye of Horus commands our focus. Hieroglyphics and distinctive carvings flank the famous Egyptian symbol of resurrection as the overture swells and the drop curtain morphs into a portal to the past.
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American Icons
Fresh from performing the concert version of George Balanchine’s “Who Cares?” at the Hollywood Bowl earlier this month, Los Angeles Ballet mounted a tribute to “American Icons” which included Jerome Robbins “The Cage,” Paul Taylor’s “Dilly Dilly,” and the return of artistic director Melissa Barak’s “Wavelength” for an evening at the Broad Stage in Santa Monica.
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Dancing with Soul, Stanton Welch
Born in 1969 to a pair of gifted dancers—Marilyn Jones and Garth Welch—in Melbourne, Australia, it only seemed natural that their son, Stanton Welch, would follow in his parents’ balletic footsteps.
Continue ReadingSunset over Malandain Ballet Biarritz
Malandain Ballet Biarritz is approaching the end of an era. After nearly three decades at its helm, Thierry Malandain will hand over the direction of the Centre Chorégraphique National to...
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