A Georgian Swan Lake
Nina Ananiashvili was still thrilling audiences as an exceptional ballerina when, in 2004, she got a call from Georgia’s newly elected president, Mikheil Saakashvili.
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Touch Grass
City living is not for all of us. For many there is nothing more appealing than that stillness of nature, that sense of suspended time.
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Razzle Dazzle
“Flower and Decoy” is stark, darkly poetic dance theater. Combining traditional Japanese aesthetics, supernatural horror and street dance, Tatsuya Hasegawa leads his all-male dance troupe, Dazzle, through an intricate, abstract contemplation of myth and mortality.
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Fouetté Populism
“Don Quixote” is a funny ballet—and I mean funny both as in odd and as in hilarious. This season, the American Ballet Theatre presented its fourth staging of this comedic classic, by artistic director Susan Jaffe and regisseur Susan Jones.
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Akram Khan's Ritual
Entering the theater at Lincoln Center’s Alice Tully Hall, one hears birds chirping and the blowing of the wind. Haze swirls from the open stage revealing only the faint outline of a set built to resemble the windswept, sandstone rock formations of Wadi AlFann (Valley of the Arts) in the ancient oasis of AlUla in the Saudi Arabian desert.
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Dancing a Legacy
A celebrated performer, educator and arts leader, Christopher Charles McDaniel, who was born in 1992 in East Harlem, New York, fell in love with ballet at age seven and has never looked back.
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By the Letter
A nearly 200-year-old story is having a moment. “Eugene Onegin,” the novel in verse by Alexander Pushkin, which published in 1833, has made its way to countless stages in ballet and opera adaptations in the past few months—the most recent being American Ballet Theatre’s production of “Onegin,” the John Cranko ballet, which was originally created for the Stuttgart Ballet in 1965.
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Royal Rivalry
In early June, the Scottish Ballet came to Koch Theater at Lincoln Center, New York, with “Mary, Queen of Scots” for a run of five performances.
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Taking Heart
Twenty years on from its beginnings, Croí Glan, meaning “clear heart” in Irish, has been a leading voice in integrated dance in Ireland.
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Women on the Verge
There is a tradition at play whenever the annual Flamenco Festival takes over Sadler’s Wells in the early summer, it is almost always swelteringly hot outside.
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Twists and Turns
As part of a new two-week summer dance festival, Lincoln Center brings back a popular work by French choreographer Rachid Ouramdane first shown in NYC ten years ago. “Tordre,” which means to twist or contort, is a duet that operates as double solos.
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Revise and Repeat
There is no such thing as a “Lucinda Childs vocabulary,” the choreographer herself clarifies in a pre-show talk with Gideon Lester, the artistic director and chief executive of Bard College’s Fisher Center. Inside the spectacular, Frank Gehry-designed building, the choreographer—who days before, celebrated her 86th birthday—is about two hours away from performing herself.
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Firebird Rising
Long before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
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Rare Birds
It is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
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Jack of Hearts
As the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
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School Report
One of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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