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INTERVIEWS | By Penelope Ford

Creative Difference

A day before Halloween, and Anastasia Adani doesn’t have a costume. “We’re going trick-or-treating anyway. I don’t know how I haven’t been fired as a wife and a mother—I’m here all the time,” she says, gesturing to one of three cavernous studios, home to her creative agency, A Plus Creative. Ms. Adani is the visionary behind the short film Lost in a Dream, featuring principal dancer Svetlana Lunkina. The film, evoking the ethereal, fairy-tale romanticism of the ballet, was made in collaboration with the National Ballet of Canada, and Toronto-based fashion designer David Dixon.

INTERVIEWS | By Penelope Ford

Serendipity and Seagulls

I was introduced to Melbourne-based choreographer Nat Cursio via her work, “Blizzard,” created and performed at the lovingly restored utility-turned-arts-venue, the Substation, in Newport, Melbourne. It made the whole building sing. “Private Dances II” is the work of Nat Cursio as curator; the second piece I inhabited for a brief moment. Each has the effect of building a world around you, as the audience—although one feels slightly more privileged than the ordinary dance-goer with a Cursio work. Her upcoming work, “The Middle Room” is a piece for a single viewer (“participant”) at a time, set in her very own apartment....

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REVIEWS | Lorna Irvine

Teenage Angst and Institutions

Watching 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,...

INTERVIEWS | Marina Harss

The Me of Today

The choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.

REVIEWS | Rachel Howard

Starry Nights

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.

REVIEWS | Faye Arthurs

America, F**K Yeah

After 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.

REVIEWS | Emily May

Acosta Danza’s Choreographic Soup

An “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.