World-class review of ballet and dance.
In approaching a New York City Ballet Fall Fashion Gala commission, choreographers have two choices: make a dance that hinges upon the fashion, or make a dance regardless of the fashion, and hope that the costumes enhance rather than detract from the steps.
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It’s a drag to report that I had the urge to walk out of my first performance back in NYC after a long summer break.
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Things seem to be clicking in place for Mamela Nyamza. Her latest work “The Herd/Less” is touring the world while her recognition as a choreographer with a distinction for the subversive and political has earned her a Silver Lion for dance at the Venice Biennale.
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After taking a field trip in the second grade to see the Alvin Ailey American Dance Theater, Ronald K. Brown was inspired to take his first dance class at Bedford Stuyvesant Restoration Corporation, a Brooklyn-based community center.
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As much as it is a cliché to reference, there is something special in finding a work that so aptly fits that famous quote from George Balanchine: “See the music. Hear the dance.”
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Wei Wang begins as any faun does: alone and center stage, awakened from a reverie and looking a touch wobbly.
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Coming in hot off their premiere at the Paris Opera Ballet, rising creative duo Jess & Morgs present “Deepfake.”
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There’s a palpable intent to the swerving compositions of Pam Tanowitz’s “Pastoral:” the mannered choreography, with its long, soft angles and consciously discursive phrasing.
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A night with Thick & Tight might look a little different to a standard evening of contemporary dance, in a few ways.
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It’s not often that you’ll get three competition kids together with the goal of not being the best. That was the goal of dancers Charlotte Mclean and Jack Anderson in collaboration with composer Malin Lewis.
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You can't see the first character who appears in Kashia Kancey's “I Believed It Too,” which was presented at Baryshnikov Arts September 24-26. From behind the audience enters a veiled figure in a sequined gown. Her face is covered while her body oozes down a staircase, clinging to the railing as she bends and falls, descending onto the stage.
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Northern Ballet is the little company that could. Often forgotten and in the shadow of larger UK companies, there is a sense of a new momentum since the takeover by Federico Bonneli of the Leeds-based outfit.
PlusLong 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.
PlusIt 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.
PlusAs 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.
PlusOne 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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