World-class review of ballet and dance.
When Suki Schorer—since 1998, the occupant of the School of American Ballet (SAB)’s Brown Foundation Senior Faculty Chair—approaches the barre to show a movement detail to a student, or strides to the side of the stage during a rehearsal to get a better perspective on a passage of choreography, she is taking steps on behalf of others.
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Citizen Arts International co-founder Natalie Rine hopes that the organization’s inaugural event, the Citizen Arts International Festival, will make New Yorkers to look up.
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There is site-specific dance—think Trisha Brown’s 1970 groundbreaking work, “Man Walking Down the Side of a Building”—and then there’s Sarah Gordon Butler’s “Hay Rake Ballet.”
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The Spanish term for a heightened state of emotion and authenticity, duende, roughly translates to a single word, “soul.”
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Goodbyes are often tearful. As Kun-Yang Lin’s Philly-based dance company, KYL/D, gave its final performance at the Mandell Theater this spring, I found myself sobbing uncontrollably. This was it.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
Continue ReadingLong 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.
Continue ReadingIt 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.
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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.
Continue ReadingAs 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.
Continue ReadingOne 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.
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