World-class review of ballet and dance.
I joined choreographer and artistic director Cathy Marston over a video call at the end of another day of rehearsals.
Plus“Giselle” is a ballet cut in two: day and night, the earth of peasants and vine workers set against the pale netherworld of the Wilis, spirits of young women betrayed in love. Between these two realms opens a tragic dramatic fracture—the spectacular and disheartening death of Giselle.
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“Racines”—meaning roots—stands as the counterbalance to “Giselle,” the two ballets opening the Paris Opera Ballet’s season this year.
PlusWhen Amy Watson took the reins at the Royal Danish Ballet one year ago, she entered stormy waters.
PlusTimes are hard for ballet. With national funding that favours the new and the bold, ticket prices rising, and accusations of elitism, only a fool would start a company focused on works of the past.
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When Richard Move enters from stage left, his presence is already monumental. In a long-sleeved gown, a wig swept in a dramatic topknot, and his eyes lined in striking swoops, the artist presents himself in the likeness of Martha Graham—though standing at 6’4, he has more than a foot on the late modern dance pioneer.
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Perhaps not since Mikhail Fokine’s 1905 iconic “The Dying Swan” has there been as haunting a solo dance depiction of avian death as Aakash Odedra Company’s “Songs of the Bulbul” (2024).
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Dance, at its best, captures nuance particularly well, allowing us to feel deeply and purely. In its wordlessness, it places a primal reliance on movement and embodied knowledge as communication all its own. It can speak directly from the body to the heart, bypassing the brain’s drive to “make sense of.”
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“Racines”—meaning roots—stands as the counterbalance to “Giselle,” the two ballets opening the Paris Opera Ballet’s season this year.
Plus
“Giselle” is a ballet cut in two: day and night, the earth of peasants and vine workers set against the pale netherworld of the Wilis, spirits of young women betrayed...
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Michele Wiles’ Park City home is nestled in the back of a wooded neighborhood, hidden from the road by pines and deciduous trees that are currently in the midst of their autumn transformations.
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I joined choreographer and artistic director Cathy Marston over a video call at the end of another day of rehearsals.
Plus
Times are hard for ballet. With national funding that favours the new and the bold, ticket prices rising, and accusations of elitism, only a fool would start a company focused on works of the past.
Plus
It was a grand night of show and—well, show more—as eight members of L.A. Dance Project strutted their gorgeous, technically brilliant stuff in the US premiere of “Gems.”
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Before founding the Seoul International Dance Festival, Lee Jong-Ho began his career as a journalist.
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During the summer, two Chinese dance productions came to Koch Theater at New York’s Lincoln Center: “Lady White Snake” from Shanghai Grand Theater in July and “Butterfly Lovers” from Hong Kong Ballet in August.
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When Amy Watson took the reins at the Royal Danish Ballet one year ago, she entered stormy waters.
Plus
I walk into Roulette, a rough-around-the-edges world music venue, a couple of blocks from the Brooklyn Academy of Music (BAM). I am attending “Dambudzo,” presented as part of BAM’s Next Wave Festival, brought to the neighborhood by the bold imagination and creative enterprise of Zimbabwe performing artist Nora Chipaumire.
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To say the least, the true story of a juvenile axe murderer seems unlikely to inspire a ballet. But the legends surrounding the late nineteenth-century murders of Lizzie Borden’s father...
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The National Ballet of Japan’s rendition of the Frederick Ashton classic, “Cinderella,” offers an authentic taste of English tradition, subtly flavored by Japanese aesthetics.
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When Wally Cardona and Molly Lieber enter to take their places on opening night, they’re stepping into the footprints of a venerable dance legacy.
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As October starts to draw to an end, so too does Dance Umbrella, London’s annual international dance festival. Having worked their way through the Barbican and Sadler’s Wells East, one of the final programmes is on at the Place—which has had an especially impressive Autumn season.
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This fall, the American Ballet Theatr is celebrating its 85th anniversary by highlighting the choreographers key to the company’s history. Agnes de Mille, Antony Tudor, Frederick Ashton, Michel Fokine, Marius Petipa, George Balanchine and Alexei Ratmansky are all featured, but only Twyla Tharp got her own night.
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What’s special about Rudi van Dantzig’s “Romeo and Juliet” is how deeply it is steeped in the textures of popular devotion and everyday life, reminiscent of Flemish painting in its...
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