World-class review of ballet and dance.
This year marks the tenth anniversary of Cathy Weis' “Sundays on Broadway,” a performance series that welcomes experimentation from a curated group of seasoned and emerging artists hosted intimately in Weis’ SoHo loft.
FREE ARTICLE
My first exposure to “Appalachian Spring” was the music—a sixth grade fieldtrip to the Denver Symphony Orchestra—long before I heard about Martha Graham.
Continue Reading
In her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
FREE ARTICLE
Six dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
Continue Reading
The 92NY hosted a star-studded evening of dance on March 12th with performances by the Limón, Martha Graham, and Alvin Ailey II companies, as well as contemporary choreographers Omar Román de Jesús, Jamar Roberts, and Hope Boykin.
FREE ARTICLE
Lorie O’Toole steps back slightly, scanning the scene in front of her with a discerning eye. Eleven dancers move together, their limbs and torsos taking on the quality of water, their collective image becoming something like the ocean’s surf.
FREE ARTICLE
Works & Process has been part of the New York dance ecosystem for 35 years—championing performing artists and supporting their creative process from studio to stage and beyond.
FREE ARTICLE
“There will be blood,” says Jacques Heim, founder and creative director behind Diavolo|Architecture in Motion, the hyperphysical dance company he began in 1992. But he wasn’t referring to the Daniel Day-Lewis saga directed by P.T. Anderson, but rather to his latest opus, “Existencia,” which has its world premiere at the Younes and Soraya Nazarian Center for the Performing Arts (the Soraya), January 17 and 19, and involves an extreme, risk-taking movement vocabulary.
FREE ARTICLE
It’s the end of the year! How did we get here? I don’t think I’m alone in the impression that January was just yesterday.
FREE ARTICLE
Astonish me,” said impresario Serge Diaghilev to choreographers, composers and collaborators of his famed Ballets Russes, the bespoke company that reigned supreme from 1909 through 1929.
FREE ARTICLE
Tucson, Arizona-based choreographer Yvonne Montoya’s latest work, “Stories from Home,” is part history, part geographical homage, and part family scrapbook.
FREE ARTICLE
Seven dancers reflect on the early days of the School of American Ballet.
Continue ReadingWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
Continue ReadingThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
Continue Reading
Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
Continue ReadingAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
Continue ReadingAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
Continue Reading