ABT’s Muy Caliente Gala
Until American Ballet Theatre’s premiere of Christopher Wheeldon’s “Like Water for Chocolate,” my first thought upon leaving a ballet gala had never before been: “well that was hot.”
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Worlds to Come
The final program of Pacific Northwest Ballet’s 50th anniversary season had a “cheering for the home team” flavor, and there was a lot to rally high spirits if you knew this team well.
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A Moveable Feast
Volta Collective, founded during the pandemic by Megan Paradowski and Mamie Green, fuses physicality, theatricality and multidisciplinary approaches to performance, with their recent “Salt” a testament not only to the group’s culinary prowess, but also to their musical, dance, thespian and literary chops.
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Still Life in Modern Classics
Illuminated by a single spotlight, a dancer seated atop a flight of dark, ominous stairs breathily whips and whirls her arms, reaching and pulling them inwards towards her stomach.
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Steps in Time
William Forsythe’s new program for La Scala provides an opportunity to reflect on the direction taken by “contemporary ballet” over several decades.
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Brush up Your Dante
For four weeks in May, Paris Opera Ballet ran contrasting programs in its two homes: at the smaller Garnier, the POB premiere of Wayne McGregor’s “The Dante Project” and, at the Bastille, a program of three Maurice Béjart works from the 1970s.
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Castles in the Sky
Andrea Miller’s Gallim Dance returned to the Joyce Theater, in New York, with a generous program titled “Bodies of Matter” that celebrated the company’s fifteen years.
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Nobody
With “Nobody” from Motionhouse, it’s the second half that’s really worth watching; something gets cleared away, and the show focuses in on the performers themselves.
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Deep River
In other words, “Deep River” was signature King: elongated, oblique moves, accentuated with filigreed arms, and deft and articulated footwork.
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SAB Resets
Last year’s School of American Ballet Workshop performances marked two milestones: Suki Schorer’s 50th anniversary as a teacher, and Kay Mazzo’s retirement from the Chair of Faculty position after 40 years.
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Beauty to my Mind
The elegance of New York’s City Center theater is a good look for Ballet Hispanico. Artistic director Eduardo Vilaro’s vision to champion the work of Latine choreographers is evident in the four featured artists of this program bill.
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Narratives for the Current Moment
“That was beautiful, but I didn’t get it,” was a refrain Brett Ishida got used to hearing in the audience at dance performances.
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Firebird Rising
Long 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.
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Rare Birds
It 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.
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Jack of Hearts
As 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.
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School Report
One 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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