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Dancing with You
REVIEWS | Karen Hildebrand

Dancing with You

The stage is strewn with potatoes. Single straight back chair, overturned. A canteen. At center is a life scale charcoal sketch, unframed on canvas. It looks like a human figure topped by a dark smudge of a head—the shape calls to mind a famous work of Gustav Klimt. 

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Fifth Avenue Blooms
REVIEWS | Faye Arthurs

Fifth Avenue Blooms

How long is their nap?” my three-year-old asked about halfway through the Trisha Brown Dance Company’s performance of “Group Primary Accumulation,” a 20-minute supine dance for four.

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Level Up
REVIEWS | Rachel Howard

Level Up

Sacramento Ballet executive and artistic director Anthony Krutzkamp dresses sharp and gives a memorable pre-curtain speech. The way he tells it, the Central California company was in rehearsals for “Swan Lake” last year when he realized he faced an enviable problem: the dancers were too good for the ballets he’d programmed under a five-year plan. 

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Divas and Devisers
REVIEWS | Faye Arthurs

Divas and Devisers

Though the New York City Ballet’s Spring Gala featured two premieres, the real buzz of the season belonged to the revival of Balanchine’s “Tzigane”—now titled the more politically correct “Errante”—after a 30-year absence. 

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And Then, Now
REVIEWS | Candice Thompson

And Then, Now

An enduring image from Jody Oberfelder’s new site-specific dance “And Then, Now,” is of the lithe, 70-year-old choreographer perched up on a tall hill at Green-Wood Cemetery in Brooklyn, framed by enormous trees and an expansive blue sky.

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Mixed Messages
REVIEWS | Cecilia Whalen

Mixed Messages

Jukebox musicals tend to come in two packages. The first centers a celebrity musician or musical group and uses the subject's body of work to tell a biographical narrative (“Carole King,” “The Temptations,” “The Four Seasons”). 

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Figure Eights
REVIEWS | Gracia Haby

Figure Eights

I may never know what it is like to be an octopus, but I can begin to imagine what it might be like if I was an octopus.[1] Equally, I may never know what it is like to be a dancer, and someone who communicates with their body, but, thanks to a special in-house showing of Prue Lang’s work-in-progress, “Poesis,” as part of her Australian Ballet’s residency program,[2] I can imagine what it might be like if I were. And so it was, that I found myself once more, in the late afternoon, in the van Praagh studio, of the Primrose...

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Spring Dances
REVIEWS | Victoria Looseleaf

Spring Dances

It was a tri-polar night—but in a good way—last weekend, with a trio of high-energy, beautifully crafted works performed by the spectacular members of L.A. Dance Project. 

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Having a Ball
REVIEWS | Faye Arthurs

Having a Ball

On a mild spring night, the New York City Ballet held a similarly temperate Gala performance. The flower arrangements were lovely, the speeches were okay, the two premieres weren’t bad, and the Balanchine excerpt was sturdy. In almost every way, it was an enjoyable—if not overly momentous—night at the ballet.

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Swan Lake, Encore
REVIEWS | Rachel Howard

Swan Lake, Encore

San Francisco Ballet artistic director Tamara Rojo may have taken on more drama than she bargained for programming a star-studded “Swan Lake” encore for the finale of her first season here.

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Vibrant and Versatile
REVIEWS | Cecilia Whalen

Vibrant and Versatile

There are few dance companies as versatile as Ballet Hispánico. The company, which is the largest Latine/x/Hispanic cultural organization in the United States, prides itself on its far-reaching celebration of the Latinx diaspora with a school that offers training in flamenco, salsa, and Afro-Caribbean, in addition to ballet, jazz, and more.

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A Grand Evening
REVIEWS | Josephine Minhinnett

A Grand Evening

It was a lovefest at the David H. Koch Theater last Thursday for the Youth America Grand Prix's 25th Anniversary Gala performance. As galas go, the night was awash in pageantry. 

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