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Director's Cut
REVIEWS | Karen Hildebrand

Director's Cut

Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.

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Nueva Carmen
FEATURES | Karen Greenspan

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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Beyond the Clouds

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.

Performance

Trisha Brown Dance Company: Trisha Brown's “Opal Loop/Cloud Installation #72503” and “Son of Gone Fishin’” by Trisha Brown / “Time Again” by Lee Serle

Place

The Joyce Theater, New York, NY, April 29, 2025

Words

Karen Hildebrand

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Toward Azure Distances
REVIEWS | Elsa Simonetti

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.

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Ballet, In Focus
REVIEWS | Sophie Bress

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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Boy God
REVIEWS | Marina Harss

Boy God

Like many great roles, Balanchine’s Apollo is a character in constant evolution. Every male dancer who steps into it brings, or at least attempts to bring, something of himself.

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 Glimpsing Nureyev

 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...

Performance

Nureyev and Friends Gala

Place

Hong Kong Arts Festival, Hong Kong Cultural Center, Hong Kong, March 22, 2025

Words

Alice Courtright

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Counting on It
INTERVIEWS | Karen Hildebrand

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
REVIEWS | Faye Arthurs

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
REVIEWS | Faye Arthurs

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
REVIEWS | Kris Kosaka

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.

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Forever Changed

Forever 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...

Performance

Ririe-Woodbury Dance Company: Annalee Traylor’s “A Mischief Sublime” and Daniel Charon’s “From Code to Universe”

Place

Leona Wagner Black Box Theater, Rose Wagner Performing Arts Center, Salt Lake City, UT, April 2025

Words

Sophie Bress

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What is War
REVIEWS | Victoria Looseleaf

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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Light on their Feet
REVIEWS | Victoria Looseleaf

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
REVIEWS | Cecilia Whalen

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.

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Box Office Ballet

Box 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.

Performance

San Francisco Ballet, “Van Manen: Dutch Grandmaster” and “Broken Love”

Place

War Memorial Opera House, San Francisco, April 5, 17, and 18, 2025

Words

Rachel Howard

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