"Fjord Review serves as an indispensable resource for the world of dance. Contributors offer well written and researched comment on what everyone's talking about - and what we might have missed. Unexpected humor and honest candor can be found in every article, and the photography and art direction elevate dance to the place of reverence and relevance it deserves. Bravo, Fjord."
Peter Boal Artistic Director, Pacific Northwest Ballet
GET IT IN PRINT | CURRENT ISSUE
Ships Immediately:
Fjord Review #6
Book reviews of Lola Lafon’s Reeling, interviews with authors Mindy Aloff on Why Dance Matters and Marina Harss on The Boy from Kyiv, etc...
240 pages. 7.25″ x 10″
Description
Subscribe to receive unlimited digital access across your devices.
What’s in my subscription?
A Digital subscription gives you unlimited access to all our online content across multiple devices. A Print + Digital subscription allows you unlimited access to online content, plus two print magazines annually.
When will I receive my magazines?
We publish two magazines per year, spring and fall editions. Subscribers are the first to receive their magazines, before single copies go on sale.
Returns
Returns are not offered on subscriptions, or on single copy sales.
What if I don’t receive my magazine?
Magazines are sent media mail or by regular mail and are not tracked unless selected in shipping. Please ensure that you have given us the correct address when you subscribe, or purchase the magazine. Please allow two weeks before contacting us regarding missing magazines.
Where do you ship?
We ship internationally, and regular postage is included for Print + Digital subscriptions only.
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”).
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...
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.
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.
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...
Performance
San Francisco Ballet, “Swan Lake” encore
Place
War Memorial Opera House, San Francisco, CA, April 29 and May 3, 2024
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.
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.
According to artistic director Peter Boal’s welcome letter for Pacific Northwest Ballet’s fifth season program, the most popular mixed rep slates at PNB feature works by Crystal Pite or Twyla Tharp.
Lassoing is a surprising through-line for a Martha Graham Dance Company performance. The theme steps generally tend towards the child-birthing variety: contractions and deep squats.
Performance
Martha Graham Dance Company: “Rodeo” by Agnes de Mille / “We the People” by Jamar Roberts / “Cave” by Hofesh Shechter
Place
New York City Center, New York, NY, April 20, 2024
Hubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
The legendary Cuban dancer Carlos Acosta trained relentlessly to come out of retirement last year for a performance of classical works in celebration of his 50th birthday at the Royal Ballet, where he spent most of his professional career.
The Dance Theater of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past.
Despite the fact that dance and music are often regarded as inextricably linked, it remains astonishing to experience the work of a choreographer who channels the score particularly well—or a...
Performance
Repertory Dance Theatre’s “Gamut:” Ihsan Rustem’s “Hallelujah Junction,” Lar Lubovitch’s “Marimba,” and Yusha-Marie Sorzano’s “Solfège”
Place
Jeanne Wagner Theatre at the Rose Wagner Performing Arts Center, Salt Lake City, UT, April 11, 2024
One might easily mistake the prevailing mood as light-hearted, heading into intermission after two premieres by Brenda Way and Kimi Okada for ODC/Dance’s annual Dance Downtown season. Maybe this is just what we need to counter world events, you may think. But there is much more to consider beneath the high production values of this beautifully wrought program. Okada, for instance, folds a dark message into her cartoon inspired “Inkwell.” And KT Nelson’s “Dead Reckoning” from 2015 reminds us the outlook for climate change looms ever large.
It’s not every choreographer who works with economists, anthropologists, neuroscientists and cognitive scientists, not to mention collaborating with the Google Arts & Culture Lab and the Swedish pop group ABBA, but Wayne McGregor wouldn’t have it any other way.
Dance scholars have been remarking on the great Trisha Brown nearly from the day she first stepped into Robert Dunn’s class—the genesis of Judson Dance Theater—in the 1960s.