Director's Cut
Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
PlusFeatured
100 Years of Rauschenberg
The Trisha Brown Dance Company embarks on a national tour this June celebrating the centennial of avant-garde American visual artist Robert Rauschenberg.
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Nueva Carmen
For Ballet Hispánico’s upcoming season at New York City Center from May 29-June 1, the company will present Gustavo Ramírez Sansano's “Carmen.maquia,” a contemporary take on the timeless story at the heart of George Bizet’s unforgettable opera “Carmen.”
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Angelina Laguna kneels on the sidewalk and places her body perpendicular to the flow of the First Avenue foot traffic.
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Beyond the Clouds
When the lights for “Opal Loop/Cloud Installation #72503” come up on four dancers silhouetted by refracted light of a billowing cloud of fog, the scene rivals halftime at the Superbowl.
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Toward Azure Distances
On a bright spring afternoon, as Paris basked in long-awaited sunlight and the city frantically moved in the heat, the Opéra Garnier opened a portal to another world—a realm of eternal forms, ethereal beauty, and blue distances: those trembling horizons where the sea dissolves into sky, and the eye reaches...
PlusLatest
100 Years of Rauschenberg
The Trisha Brown Dance Company embarks on a national tour this June celebrating the centennial of avant-garde American visual artist Robert Rauschenberg.
Plus
Nueva Carmen
For Ballet Hispánico’s upcoming season at New York City Center from May 29-June 1, the company will present Gustavo Ramírez Sansano's “Carmen.maquia,” a contemporary take on the timeless story at the heart of George Bizet’s unforgettable opera “Carmen.”
Plus
A Rolling Piece
Angelina Laguna kneels on the sidewalk and places her body perpendicular to the flow of the First Avenue foot traffic.
PlusBeyond the Clouds
When the lights for “Opal Loop/Cloud Installation #72503” come up on four dancers silhouetted by refracted light of a billowing cloud of fog, the scene rivals halftime at the Superbowl.
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Toward Azure Distances
On a bright spring afternoon, as Paris basked in long-awaited sunlight and the city frantically moved in the heat, the Opéra Garnier opened a portal to another world—a realm of eternal forms, ethereal beauty, and blue distances: those trembling horizons where the sea dissolves into sky, and the eye reaches toward the infinite.
Plus
Ballet, In Focus
What does it mean to devote your life to dance? Amy Sherman-Palladino and Daniel Palladino’s new streaming series, “Étoile,” which debuted April 24 on Prime Video, attempts to answer this question in a way that resonates with both dancers and general audiences. Not an easy task.
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Jennifer Archibald, On the Pulse
Jennifer Archibald’s choreography credits extend from ballet companies to commercial work, reflecting her signature ability to blend classical dance with hip hop.
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Glimpsing Nureyev
Nureyev and Friends, a recent tribute event at the Hong Kong Arts Festival, opened with an introduction from Charles Jude, the longtime protégé of Rudolf Nureyev at the Paris Opera...
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Counting on It
Listening to John Cage’s “Three Dances (for prepared piano)” is a wonderfully contradictory experience. The composer disrupts our auditory expectations by placing an assortment of small objects such as erasers, screws, and bolts, among the piano strings. A musician plays the piano in the typical manner, but instead of a harmonic tone, we hear more percussive sounds of kettle drums, timpani, xylophone, tin cans, even bells. One can imagine how an artist like Lucinda Childs, who was part of the Judson Dance Theater radicals in the ‘60s, might be attracted to such a composition. The choreographer is perhaps best known...
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Balanchine Inside Out
It is always exciting when the New York City Ballet kicks off a season with an all-Balanchine program. However, the Spring Season’s opening quartet of Balanchine ballets—all strong in their own right—didn’t hang together as well as some other combos.
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Precision in Programming and Practice
Moreso than many Balanchine offshoot companies, the Dance Theater of Harlem—founded by the New York City Ballet principal dancer Arthur Mitchell in 1969—keeps the Balanchine ethos at the forefront of its programming.
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Youthful Ideals
Artistic Director Miyako Yoshida’s “Giselle” for the National Ballet of Japan excavates emotional freshness within the familiar landscape of the 1841 Romantic classic.
PlusForever Changed
At a baseline, good art should move you. At its peak, it can change you. I did not expect to come out of Ririe-Woodbury Dance Company’s season closer, Re-Act, a...
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What is War
The body as vessel; the body as memory container; the body as truth-teller. All of these corporeal permutations were on view at the UCLA Nimoy Theater last Thursday, when Eiko Otake and Wen Hui performed their haunting, elegiac and deeply meaningful work, “What is War.”
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Harper Watters, On his Toes
If ballet and politics were ever a thing, Houston Ballet principal Harper Watters is, perhaps, one of its staunchest advocates.
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Light on their Feet
It was sensory overload at the Marciano Art Foundation last weekend when six members of LA Dance Project performed side-by-side, around, and, at times, seemingly in tandem, with Doug Aitken’s film, Lightscape.
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Tidal Movements
Three dancers drip down a wall like paint. Their backs press against the background as they slowly bend their knees, oozing down a blank canvas. This is a scene from John Jasperse's latest work, “Tides,” which had its premiere as part of the La MaMa Moves! Dance Festival April 10-13.
PlusBox Office Ballet
In its 92nd season—its second programmed by still relatively new artistic director Tamara Rojo—San Francisco Ballet kept playing with box office strategies.
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