Ryan Tomash Steps into a New Role
Back in October, New York City Ballet got a new cowboy. His arrival occurred in the final section of George Balanchine’s “Western Symphony.”
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Cathy Marston's Sense of Narrative
I joined choreographer and artistic director Cathy Marston over a video call at the end of another day of rehearsals.
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London City Ballet Spreads its Wings
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.
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Lee Jong-Ho, for the Love of Art
Before founding the Seoul International Dance Festival, Lee Jong-Ho began his career as a journalist.
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Amy Watson, A Steady Hand
When Amy Watson took the reins at the Royal Danish Ballet one year ago, she entered stormy waters.
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Listening to the World with Abigail Levine
On a Saturday afternoon in late September, the air feels electric in an upstairs rehearsal studio at Kestrels, in the Gowanus neighborhood of Brooklyn.
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Between Wave and Water
Alethea Pace's latest work, “between wave and water,” is a journey. Performers physically lead an audience through the Hunts Point neighborhood of the Bronx while examining the history of a local Enslaved African Burial Ground.
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Dancing in Circular Time
Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
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Shen Wei, 30 Years of Art
To many, the name Shen Wei might conjure the distinctive choreography of the Opening Ceremonies at the 2008 Beijing Olympics.
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The Art of Stillness
Martha Graham said that “movement never lies”—but what of stillness? For NYC Dance Project’s latest book, Martha Graham Dance Company: 100 Years, photographers Ken Browar and Deborah Ory set out to explore Martha Graham’s legacy through photos.
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The Art of Exploration
Melbourne-based dance artist Jo Lloyd uses choreography as a social encounter, revealing behaviour over various durations and contexts.
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In the Style of Camille A. Brown
She’s one of the hottest and most prolific Black female directors and choreographers working today. Tapping into both ancestral and contemporary stories that capture a range of not only deeply personal experiences but also embody cultural narratives of African American identity, she is Camille A. Brown.
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Teenage Angst and Institutions
Watching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
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The Me of Today
The choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
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America, F**K Yeah
After a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
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Acosta Danza’s Choreographic Soup
An “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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