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REVIEWS | By Madelyn Coupe

A Kaleidoscope of Wonder

The term “wayfinder” has two definitions. The first refers to a sign or landmark that helps navigate people to a specific location; a physical marker guiding people home. The second points toward a traveller; someone who is in search of a particular place. Despite being either subject or object, the two definitions share a commonality—there is an inherent and active search going on. People searching for signs, for each other, and for meaning. The audience, too, walked into this performance searching for their own answers, as individual as they may be. And what they found was the kaleidoscopic brilliance that...

REVIEWS | By Claudia Lawson

Stories from the Island Children

In their brand new facility in Sydney’s Walsh Bay, Bangarra Dance Theatre have once again produced an awe-inspiring work, but this time, it might also be their sweetest; their first offering for children: “Waru—Journey of the Small Turtle.”

TALKING POINTES | Claudia Lawson

Beau Dean Riley Smith, Stories to Tell

Today I’m speaking with Beau Dean Riley Smith. Beau was born on Wiradjuri Country in Dubbo, Western NSW. But as a little kid the family moved to Culburra on the NSW South Coast where Beau spent his childhood surrounded by siblings, love and chaos while growing up at the beach. Beau didn’t learn to dance as a kid, instead he studied drama in high school, before being accepted into the performance program at WAPPA—the Western Australian Academy of Performing Arts in Perth.

REVIEWS | By Faye Arthurs

Portraits of a Lady

The New York City Ballet opened its Fall Season with a bill of three Balanchine ballets which premiered in a relative cluster: “Divertimento No. 15” (1956), “Scotch Symphony” (1952) and “La Sonnambula” (1960). The first and last of these were reworkings. “Divert” was an update of “Caracole,” a ballet made in 1952 to the same Mozart score, which Balanchine and the dancers had simply forgotten when they tried to revive it four years later. “La Sonnambula,” titled “Night Shadow” until 1961, was originally created for the Ballet Russe de Monte Carlo in 1946. When taking the first drafts into consideration,...

REVIEWS | By Gracia Haby

Forged in Dance

Miles underground, in the Earth’s mantle, Obsidian rock and Wayne McGregor’s “Obsidian Tear” begins. Originally commissioned by the Royal Ballet and Boston Ballet, premiering at the Royal Opera House, Covent Garden, in 2016, it is now time for the volcano to erupt for its Australian premiere season at the State Theatre in Melbourne. Six years deep, all that heat and pressure, it has melted to form magma. Slowly rising from the cracks underground in the Earth’s crust, it collects in a holding chamber, but it can only do so for so long.

BOOKSHELF | INTERVIEWS | By Martha Anne Toll

Searching for Mr. B

Jennifer Homans, The New Yorker’s dance critic, has written a must-read biography, Mr. B: George Balanchine’s 20th Century. While plenty of ink has been spilled about the iconic choreographer, what makes Homans’s work distinct is her ability to get inside his head and capture his spiritual and personal life in graceful, poetic prose. Reading this monumental work felt like a full-bodied experience.

REVIEWS | By Rachel Howard

Twists and Turns

Smuin is an unusual company. It was founded by former San Francisco Ballet co-director Michael Smuin in 1994, about a decade after San Francisco Ballet’s board declined to name him the company’s next director. For its first fifteen years, the new eponymous troupe mainly danced Smuin’s over-the-top theatrical spectacles, like “Zorro!” and “Carmina Burana.” When Smuin died suddenly in 2007, his longtime muse Celia Fushille became artistic director. She has continued to feed the audience the hammier Smuin spectacles they love, but she has also considerably stretched the repertory with the addition of works by Trey McIntyre, Stanton Welch, and...

REVIEWS | By Cecilia Whalen

Rhythm is a Dancer

If you were to watch Leonardo Sandoval dance from just the ankles up, you might suppose he's skating. He travels so effortlessly across the stage, gently twisting and turning as though gliding on a sheet of ice and guided by the wind. But Sandoval's not an ice skater—he's a tap dancer. Guiding him through space is not a chilly winter breeze but an even, complex, syncopated sense of rhythm.

REVIEWS | By Karen Greenspan

Harmonic Obsession

The 85th birthday of Philip Glass was feted to perfection amid the verdant rolling meadows at Kaatsbaan Cultural Park in New York State’s Hudson River Valley. Nature conspired in staging an awe-provoking event with the Catskill Mountains as majestic backdrop, surrounding trees as arcaded entranceway for the performers, and clouds arriving on cue to mute the sun’s intensity.

REVIEWS | By Candice Thompson

Better to Dance Than Kill

A close-up image of white cloth undulates gently on a large projection screen set upstage. In front of it, a cameraman sits behind a table, facing the audience. His lens is trained on the bundle of white cloth draped on an easy chair set immediately downstage, its back to the audience. Underneath the fabric, dancer Albert Silindokuhle IBOKWE Khoza is wrapped up like a mummified king.

REVIEWS | By Rachel Howard

All that Glitters

This return of Miami City Ballet felt like lifting the curtain on a new, wide-open moment. Fifteen years have passed since MCB last visited Berkeley’s Cal Performances; ten years have passed since MCB founding artistic director Edward Villella stepped down. The world is now post-covid (sort of), and the dance world is post-leadership changes at its Balanchine bastion, New York City Ballet. And so, we Californians had a clean stage for seeing what Lourdes Lopez has done with Miami’s Balanchine legacy over her decade of helming the 52-member troupe. What a refreshing view it was.

BOOKSHELF | INTERVIEWS | By Martha Anne Toll

The Dancer and her Writing Life

Meg Howrey’s engaging new novel, They’re Going to Love You—her fourth—immerses readers in the ballet world. As a former ballerina, this is a place with which Howrey is intimately familiar. The plot revolves around a 40-something choreographer/erstwhile dancer, Carlisle, and her estranged father and his partner, James, both of whom are also in the dance world.

Featured Reads

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.