World-class review of ballet and dance.
While the world of ballet is considered a rarefied one, what happens when a dancer who trained at the prestigious Paris Opéra Ballet School abandons the art form—or rather integrates said terpsichorean skills—into a solo sans pointe shoes or ballet slippers, sporting, instead, sneakers? The answer can be found in...
PlusThere is something uncanny about the timing of the Paris Opera’s revival of Kenneth MacMillan’s “L’Histoire de Manon” at the Palais Garnier in October 2026, as turmoil unfolds in the streets of Paris.
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The Nrityagram Dance Ensemble returned to the Joyce Theater this October with a generous evening of new and old works under the umbrella title “Khaṅkhaṇā—the sound of dancing feet.”
PlusI’ve always wondered what it was like to be in the audience of a Balanchine premiere, and on October 8th, when the New York City Ballet revived “Pithoprakta” for the first time in 57 years, I got the closest I will likely ever come to that experience.
PlusDestruction is a loaded word, so blunt and final, it's hard to imagine a way to move forward from it. But if there was ever a choreographer who knew how to work from destruction it would be Omar Rajeh, and if there was ever a city that knew distraction too...
Plus
While the world of ballet is considered a rarefied one, what happens when a dancer who trained at the prestigious Paris Opéra Ballet School abandons the art form—or rather integrates said terpsichorean skills—into a solo sans pointe shoes or ballet slippers, sporting, instead, sneakers? The answer can be found in Dimitri Chamblas’ stunning and thought-provoking work, “Ulysse Marion.”
Plus
There is something uncanny about the timing of the Paris Opera’s revival of Kenneth MacMillan’s “L’Histoire de Manon” at the Palais Garnier in October 2026, as turmoil unfolds in the streets of Paris.
Plus
The Nrityagram Dance Ensemble returned to the Joyce Theater this October with a generous evening of new and old works under the umbrella title “Khaṅkhaṇā—the sound of dancing feet.”
Plus
I’ve always wondered what it was like to be in the audience of a Balanchine premiere, and on October 8th, when the New York City Ballet revived “Pithoprakta” for the first time in 57 years, I got the closest I will likely ever come to that experience.
Plus
Destruction is a loaded word, so blunt and final, it's hard to imagine a way to move forward from it. But if there was ever a choreographer who knew how...
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As the first evening that Gonzalo Garcia has programmed as Miami City Ballet artistic director, “American Rhythms” provides a glimpse into the future of one of America’s most prominent “Balanchine” companies.
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The curtain rises on a fairy-tale and the theatre around me all but disappears. There is the sensation that I am turning the pages of Charles Perrault’s 1697 telling of Sleeping Beauty.
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It’s important for young dance artists to have the space, time, and resources to create. With its mission of giving autonomy to dancers, Pangea Dance Collective, founded in 2022, is working to offer just that.
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Early in its 2026–27 season, the Paris Opera Ballet presents “Paysages intérieurs (Inner Landscapes),” and once again we are faced with the much-debated question of just how many contemporary mixed bills the company should programme.
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At the end of the year, Lucy Guerin will step down as founding artistic director of Lucy Guerin Inc, with Melanie Lane to take the helm in 2027, and a...
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Whether Rosalía really stood on pointe for four minutes while singing “Reliquia,” on “Saturday Night Live” recently, or it was some sort of television trickery, the sight of her steadfastness on toe came to mind when watching the brilliant dancers of Houston Ballet make their debut at Segerstrom Center for the Arts on opening night of their five-performance run of the West Coast premiere of “Sons de L’âme (Sounds of the Soul).”
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A hike where art moments happen along the way is how dancer-choreographer Dominic Moore-Dunson described his site-specific, outdoor dance-theater work, “Black by Nature.”
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As a true balletomane, this writer can never get enough Balanchine. And true to form, American Contemporary Ballet kicked off its fifteenth season with “Pas de Deux,” three works by the master himself, George Balanchine, and another by Lincoln Jones, ACB’s savvy artistic director with a penchant for the man who helped change the art form in this country.
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The most legendary figures are often the most misunderstood—reshaped over time into something that merely evokes the original rather than really resembling it.
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I’ve never thought about program notes and how much they help or hinder connecting to a new dance as much as I have since watching Jessica Lang’s creative association unfold...
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For Boston Ballet’s third visit to Paris, the company brought what promised to be two surefire crowd-pleasers: Alexander Ekman’s “Cacti” and Akram Khan’s “Vertical Road (Reimagined).”
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As a Nor’easter wreaked havoc along the Mid-Atlantic seaboard, the wet winds calmed down enough by late afternoon to venture out to Alonzo King Lines Ballet that evening.
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On rare occasions, a dance seems to speak directly to me—often to my experiences as a dancer, sometimes to my humanity.
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I can’t take my eyes off the men. Stephen Haley, Joey Columbus, and Ian Debono each have solos in “Mazurkas” that emphasize the Limón posture full of elegance and pride.
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While the dancers traveled up from Florida, the Sarasota Ballet presented a taste of British sensibilities in its week-long engagement at the Joyce Theater.
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