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REVIEWS | By Rachel Elderkin

Breaking Point

The dancers and musicians gather on the stage, the chorus of their voices rising through the auditorium. There’s a Middle Eastern influence to their music, a complex layering of sound that comes from the diversity of styles choreographer Sidi Larbi Cherkaoui has brought together. Each of his dancers and musicians are experienced in different disciplines and this crossing of skills provides a rich palette for Cherkaoui to draw from. The result is a carefully crafted work that emerges from a maelstrom of music, movement, voice and image.

REVIEWS | By Erica Getto

Never Never Gonna Give Up

In Jane Austen’s 1803 novel Northanger Abbey, seventeen-year-old Catherine Morland spends the winter in Bath, a town tucked away in the English countryside. While there, Morland finds herself at a series of balls and social dances. She also finds herself in the company of new friends—and suitors. One is Isabella Thorpe, a society sweetheart who deals—and delights—in gossip. Another is her brother John Thorpe, a wealthy young man whose arrogance and entitlement is evident even when he dances. As Morland spends more time with these characters at community dances, her view of wealthy English society evolves: although society culture at...

REVIEWS | By Rachel Elderkin

Liar, Liar

From the opening moments, Jasmin Vardimon's “Pinocchio” resonates with the kind of magic you only encounter in theatre. One after the other the performers rise from the floor, hand in hand, their bodies straight and stiff, mechanically tipping in turn like the wooden figurines of an old town square clock. It’s an enduring image of this show—and it is one of many.

REVIEWS | By Victoria Looseleaf

The Forsythe Saga

Think of it as the terpsichorean equivalent of a mic drop—times four, or Beyoncé before Beyoncé (but a decided precursor to “Formation”). However one chooses to look at it, William Forsythe’s “Artifact Suite,” performed over the weekend by Houston Ballet (who premiered it just last month), was an anarchic, jaw-dropping stunner. One third of a unique bill—a trio of American ballet troupes each performing a Forsythe opus—“Artifact” is a one-act, forty-minute abstraction of the his 1984 “Artifact,” the first piece the American-born choreographer made for his now disbanded troupe, Ballett Frankfurt.

REVIEWS | By Sara Veale

On the Hour

Sixty minutes is a tricky length for a work of dance. Slot an uninterrupted hour of dance into a mixed bill and you risk an inattentive audience. But present it as a stand-alone production and you face an extra layer of critical scrutiny—is the piece truly substantial enough to carry an entire evening?

REVIEWS | By Gracia Haby

Dirty Laundry

The noise of the day drops away as I make my way to the upstairs studio of Dancehouse. I am one part of an increasingly hushed procession assembled on opening night to experience Sarah-Jane Norman’s “The River’s Children” (2013), and “Take This, For It Is My Body” (2010) paired with “Heirloom” (2013), and Nacera Belaza’s “The Shout” (2008), presented as part of Melbourne Festival.

REVIEWS | By Sara Veale

The Food of Love

2016 marks the 400th anniversary of William Shakespeare’s death, and the year has seen artistic tributes pour in from around the world: film festivals, art exhibitions, publishing initiatives, theatre takeovers. Birmingham Royal Ballet is responsible for one of the most extensive dance offerings: a dedicated Shakespeare Season featuring 80 performances of seven Bard-inspired ballets, including a new evening-length reworking of “The Tempest” from artistic director David Bintley.

REVIEWS | By Jonelle Seitz

Quiet Landings

Grupo Corpo, the Brazilian contemporary company, gave one performance in Austin, sandwiched by stops in Minneapolis and New Orleans, and between engagements in New York City and Europe. I can imagine that these one-nighters blur together for the members of the group, distinguishable only by hotel and theater amenities and the receptiveness of the audience. But for Austin audiences, who have had the opportunity to see the company once every few years since 2008, thanks to programming by the University of Texas, each of these rare performances is distinct. The two ballets on this program, both created for the company...

REVIEWS | By Gracia Haby

Forces to Test

Down, instead of up. That is how things fall when they are dropped. But in the worlds of circus and dance, the body doesn’t have to give the appearance of being a servant to gravity. In the worlds of circus and dance, the body can defy gravity. And gravity is what pulls three pieces by three different choreographers together in Les 7 Doigts’ “Triptyque,” presented as part of Melbourne Festival at the Playhouse late on a Sunday afternoon. A swirling galaxy is made, beginning with Marie Chouinard’s “Anne & Samuel,” and Victor Quijada’s “Variations 9.81,” before pulling up the bed covers...

REVIEWS | By Jade Larine

Postmodern Vibes

It isn’t as mainstream as the Opera Garnier’s season opening. Facing the Théâtre du Châtelet, the Théâtre de la Ville hosts a yearly festival as fall takes its toll on yellowish leaves of Haussmann boulevards. In spite of its great media coverage by contemporary dance enthusiasts and low pricing policy, Le Festival d’automne, is something of a well-kept secret. The 2016 edition is dedicated to Lucinda Childs’ postmodern vibes, featuring her famous piece, “Dance” the evening of the premiere. When first performed in 1979, “Dance” met with mixed reception. Later, it earned the status of ‘masterpiece’ and it’s rare to read...

REVIEWS | By Oksana Khadarina

All that Glitters

George Balanchine’s “Jewels” will turn 50 next year. It was, and still is, a ballet like no other; a perfect night at the theater and a great introduction to the art of Balanchine.

REVIEWS | By Victoria Looseleaf

The Good WIFE

Crawling with hipsters, scenesters and lipstick lesbians, the funky warehouse in L.A.’s up-and-coming neighborhood, Frogtown, recently served as a performance space for WIFE’s apocryphal “Enter The Cave.” The hometown female trio—Jasmine Albuquerque, Kristen Leahy and Nina McNeely—had presented the first act of “Cave” at the Hammer Museum last June to what can only be called adoring throngs.

Featured Reads

REVIEWS | Karen Hildebrand

Spellbound

Two performers crawl in on hands and knees wearing neon green, hooded coveralls—the lightweight papery kind made for working in a sterile environment—and clusters of balloons pinned to their backs.

REVIEWS | Sarah Cecilia Bukowski

Green Light

Will Rawls makes boundaries visible by defying them. Known for the disciplinary and topical range of his projects, the choreographer, director, and performer approaches issues of representation in “[siccer],” a multi-part, multi-site work co-presented by L’Alliance New York’s Crossing the Line Festival. A live performance at Performance Space New York...

REVIEWS | Faye Arthurs

Home and Away

It is always interesting when multiple theme steps emerge over the course of a mixed repertory evening, but it is uncanny on one featuring five different ballets, each with a different choreographer and composer, covering a twenty-year span (2005-2025).

REVIEWS | Karen Greenspan

Of Dandelions and Resilience

Zvidance premiered its new work “Dandelion” mid-November at New York Live Arts. Founded by Zvi Gotheiner in 1989, Zvidance has been a steady presence in the New York contemporary dance scene, a reliable source of compositional integrity, and a magnet for wonderful dancers.

REVIEWS | Steve Sucato

The Music Within

Cleveland native Dianne McIntrye received a hometown hero's welcome during her curtain speech prior to her eponymous dance group thrilling the audience in her latest work, “In the Same Tongue.”