All – Tagged "FEATURES"

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FEATURES | Robert Steven Mack

Toeing the Line

Carly Topazio, the founding director of the Rosin Box Project, knows what a challenge it is to stand out amidst San Diego’s many dance companies.

FEATURES | Victoria Looseleaf

With its “sprawl to the wall” density, the city of Los Angeles seems a good fit for democratizing dance, i.e., presenting site-specific movement in an array of venues—both indoors and out—all free to the public. Indeed, Benjamin Millepied, the founder of L.A. Dance Project, began the series in the French capital with his Paris Dance Project in 2024, then called La Ville Dansée, with the idea of exporting it to his adopted city in a co-production.

FEATURES | Rachel Howard

A San Francisco Ballet Season

San Francisco Ballet delivers one of the most intense home seasons in the dance world, a scheduling crucible that artistic director Tamara Rojo, in her four years of leadership, has tried to change without success.

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.

FEATURES | Karen Greenspan

Dance on their own Terms

For its upcoming New York City Center season (April 23-26, 2026), Ballet Hispánico will present “Mujeres: Women in Motion,” programming that centers on Latina women who are shaping the language of dance.

FEATURES | Caedra Scott-Flaherty

The New Firebirds

One thing that I love about the Firebird is that she is the hero,” said Catherine Hurlin, a principal dancer with American Ballet Theatre, in a Zoom interview on a snowy February morning.

FEATURES | Greta Pieropan

Winners and Some Questions

The Prix de Lausanne 2026 crowned fourteen young dancers in its finale held at the Théâtre de Beaulieu in Lausanne, selected from 78 candidates who took part in the competition’s selection rounds. The jury this year was presided over by Kevin O’Hare, artistic director of the Royal Ballet.

FEATURES | Mindy Aloff

Guys by Dolls

When Alban Lendorf was four, he became attentive to the piano. When his lessons advanced to the learning of a Chopin waltz, his piano teacher suggested he take dance classes to help open up the music.

FEATURES | Merilyn Jackson

‘Tis the Seasons

Last week I caught up with choreographer Pam Tanowitz and Opera Philadelphia’s current general director and president, countertenor Anthony Roth Costanzo to talk about “The Seasons,” the company’s latest production premiering at the Kimmel Center’s 600-plus seat Perelman Theater on December 19.

FEATURES | By Penelope Ford

Critics' Picks 2025

Throughout the year, our critics attend hundreds of dance performances, whether onsite, outdoors, or on the proscenium stage, around the world.

FEATURES | Anna Eastman

Dancing Out of Time

It’s a law of the universe, immutable as gravity: if you’re a ballerina, in December you’re dancing “The Nutcracker.”

FEATURES | Sophie Bress

Misty Copeland's Legacy

Misty Copeland’s upcoming retirement from American Ballet Theatre—where she made history as the first Black female principal dancer and subsequently shot to fame in the ballet world and beyond—means many things.

Featured Reads

REVIEWS | Rebecca Deczynski

Firebird Rising

Long before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.

REVIEWS | Faye Arthurs

Rare Birds

It is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.

REVIEWS | Faye Arthurs

Lord of the Dance

The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.

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.

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.