Dance Reviews

San Francisco Ballet capped artistic director Helgi Tomasson’s departing season with his “Swan Lake,” headlined by four promising casts. On opening night I saw Frances Chung as Odette/Odile, and she was technically impeccable, emotive without crossing over into camp, and athletically powerful—but she didn’t believably click with Joseph Walsh’s playboy-esque...
There was nothing new about the trio of works on show at New York City Ballet on May 10—“Apollo,” “Orpheus,” and “Agon,” except the pairing with a brief orchestral suite by Stravinsky at the start of the evening. Stravinsky’s “Suite No. 2 for Small Orchestra” is a charmer, in the...
L.A. Dance Project’s two-week run at the Joyce Theater opened May 3 with a program of mainly post-modern works by three female choreographers. Founded in 2012 under the artistic direction of former Paris Opera Director of Dance and New York City Ballet star Benjamin Millepied, the Los Angeles-based dance company...
It wouldn’t hurt to have a tutorial at the ready when attending a show by Time Lapse Dance. The dynamic movement and flowing fabric that are signature elements of work by founder and choreographer Jody Sperling deliver a visually gorgeous evening of performance, but there is always a deeper level...
It has been a few years since New York City Ballet danced Balanchine’s “Symphony in Three Movements,” so its return as part of the company’s Stravinsky Festival is particularly welcome. Created the same year (1972) as his “Stravinsky Violin Concerto,” it represents the pinnacle of Balanchine’s response to Stravinsky’s music....
The 1972 Stravinsky Festival at New York City Ballet is one of those mythical moments people speak of with glowing tones of wonderment: 30 ballets! 20 premieres! New works by Balanchine, Robbins, John Taras, Todd Bolender, and more! Not to mention the fact that it was the occasion of the...
The dancers of Sasha Waltz & Guests and the musicians of Bang on a Can All-Stars walked onstage in silence, their forms making dark silhouettes against a saturated pink backdrop. For a few minutes they milled about, reconfiguring into different pairs, groups, and lines before the musicians eventually settled themselves...
Dozens of ballet luminaries including Hamburg Ballet director John Neumeier, Joffrey Ballet director Ashley Wheater, and recently retired New York City Ballet principal Gonzalo Garcia gathered here last week on a confetti-blasted opera house stage to mark the end of an era. Helgi Tomasson, artistic director of the San Francisco...
George Balanchine’s “Divertimento No. 15” is a ballet one longs to see, but seldom comes out of the theater fully satisfied by. “Arlene Croce quipped that ‘Divertimento No. 15’ is one of those ballets that are famous for not being done well,” Nancy Goldner writes in her essential volume More...
It’s almost 18 months since David Hallberg, the South Dakota native and long-time New Yorker, took over as artistic director at the Australian Ballet, and it finally feels as though the Covid shackles are off. To date, there hasn’t been a true opportunity to see what he might bring to...
The first edition of the “Gala Fracci,” an initiative of ballet director Manuel Legris, took place at La Scala as a commemorative evening. In her beloved theatre our prima ballerina assoluta was raised but was refused as a ballet director. The calling for a series of masterclasses on “Giselle” just...
In March 2020, just as the Flamenco Festival was rolling into town, the world shut down. The dancers packed up their flamenco shoes and went home. The festival’s return, two years later, then, is also a welcome return to one of the city’s most celebratory yearly rituals. (This is the...
The 1971 ballet “Goldberg Variations,” by Jerome Robbins, has a reputation for being long, and, for that reason, one of the choreographer’s “difficult” ballets. Robbins used all thirty of the keyboard variations Bach developed on a simple, mournful theme. With the exception of three in G minor they are in...
There was a celebratory spirit in the packed house on opening night for Shamel Pitts’ and Tribe’s New York Live Arts season. As people located their seats, energetic jazz riffs played over the sound system and projected white specks of light floated in a circular formation on the black stage...
As it approaches the 30-year mark, New York-based Complexions Contemporary Ballet, which was co-founded in 1994 by Dwight Rhoden and Desmond Richardson (both former Alvin Ailey dancers), the troupe is at the top of its game—and then some, if that’s even possible. But seeing is believing, and watching the 15-member...

The Sunday Review

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