World-class review of ballet and dance.
As I watch one after another pastel tutu clad ballerina bourrée into the arms of a white-tighted danseur, a melody not credited on the program floats through my brain. You know the one.
PlusHaneul Jung oscillates between the definition of the Korean word, man-il meaning “ten thousand days” and “what if.”
Plus
Misty Copeland’s upcoming retirement from American Ballet Theatre—where she made history as the first Black female principal dancer and subsequently shot to fame in the ballet world and beyond—means many things.
PlusMoss Te Ururangi Patterson describes his choreographic process having a conversation with other elements. As he describes pushing himself under the waves, and a feeling of meditative, buoyancy as he floated in space, the impression of light beneath the water was paramount.
PlusThese days you’re hard pressed to use the internet without running into artificial intelligence.
Plus
It’s amusing to read in Pacific Northwest Ballet’s generally exceptional program notes that George Balanchine choreographed the triptych we now know as “Jewels” because he visited Van Cleef & Arpels and was struck by inspiration. I mean, perhaps visiting the jeweler did further tickle his imagination, but—PR stunt, anyone?
Plus
As I watch one after another pastel tutu clad ballerina bourrée into the arms of a white-tighted danseur, a melody not credited on the program floats through my brain. You know the one.
Plus
Misty Copeland’s upcoming retirement from American Ballet Theatre—where she made history as the first Black female principal dancer and subsequently shot to fame in the ballet world and beyond—means many things.
Plus
Haneul Jung oscillates between the definition of the Korean word, man-il meaning “ten thousand days” and “what if.”
Plus
Moss Te Ururangi Patterson describes his choreographic process having a conversation with other elements. As he describes pushing himself under the waves, and a feeling of meditative, buoyancy as he...
Performance
Place
Words
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These days you’re hard pressed to use the internet without running into artificial intelligence.
Plus
All reviews of live performance are an exercise in hindsight. No matter how diligent a notetaker I will forever be rearticulating my in-the-moment responses into something that is ideally a cogent and cohesive response to a work.
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This season opener from English National Ballet gathers four markedly different works to showcase the gamut of the company’s evolving repertoire.
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To many, the name Shen Wei might conjure the distinctive choreography of the Opening Ceremonies at the 2008 Beijing Olympics.
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It will be impossible to walk past the Panthéon again without recalling what happened at the Théâtre des Champs-Élysées in late September 2025: the extraordinary transformation—verging on possession—of Germaine Acogny...
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The curtain opens on a stark, grey stage. Cut off from the vitality of the world, an aged man, shabby and nondescript, exists only for his books. Inspired suddenly by a romantic vision, he forces a lazing servant to attend him and leaves behind this colorless prison, carrying his fantastical determination along with the dated accoutrements of a crusading knight.
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For its twentieth anniversary, A.I.M by Kyle Abraham showcased a trio of established works set to live music at the Rose Theater at Lincoln Center.
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Semantic satiation is the psychological phenomenon in which repetition causes a word or phrase to temporarily lose meaning for the listener.
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I make my way up the stairs at the Substation. Along all four sides of the large room, rows of seats are arranged. Event warning: sudden loud noises. Content warning: death. I find a seat along the long side wall, with my back to the window.
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Martha Graham said that “movement never lies”—but what of stillness? For NYC Dance Project’s latest book, Martha Graham Dance Company: 100 Years, photographers Ken Browar and Deborah Ory set out...
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From the back of the stage, a single searchlight points in the direction of the audience, and as it does, it sweeps across the forms of seven dancers in Stephanie Lake’s “Seven Days.”
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At a time when the arts in America are under attack and many small dance companies are quietly disappearing, San Francisco’s dance scene—for decades second in its volume of activity only to New York—still has a pulse.
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Noé Soulier enters the space without warning, and it takes a few seconds for the chattering audience to register the man now standing before them, dressed simply in a grey t-shirt and black pants, barefoot.
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In the first few seconds that the lights come up on BalletX at the Joyce Theater, an audience member murmurs her assent: “I love it already.”
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