A Tree Grows
Watching George Balanchine’s “The Nutcracker” the other night at New York City Ballet, I was struck, once again, by the sense of balance it both portrays and embodies.
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By Moonlight
As the lights dim in Sadler’s Wells, I am struck by how dark the theatre I’m sitting in is. These few moments before a show begins create a unique situation of near complete trust on the audience; there’s no light, natural or artificial.
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Giant Leaps
During the past ten years, Jody Sperling has created a portfolio of dance works that calls for action to protect and preserve the environment. She has traveled to the Arctic to dance on disappearing ice.
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Magic Numbers
To stand out in a sea of world premieres, honesty and emotionality are key, if Repertory Dance Theatre’s most recent program, “Venture,” is any indication.
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Enduring Magic
To Sir Frederick Ashton’s fast footwork and musicality belongs the Australian Ballet’s double bill “The Dream” and “Marguerite & Armand.” To the charming misadventure distillation of Shakespeare’s A Midsummer Night’s Dream bubbles “The Dream.”
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Love and Loss
The moment arrived two-thirds into the program, near the peak of Donald Byrd’s “Love and Loss.” For more than an hour, the beautiful bodies on screen had been doing eloquent things, to curiously numbing effect.
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A Gala Affair
Since its founding in 2012 by Benjamin Millepied, L.A. Dance Project has not been lacking in talent, ideas, or, fortunately for them, funding, something that most dance troupes desperately need.
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Somewhere and Fearful Symmetries Meet in Doug Varone and Dancers
When a choreographer takes on volcanic and iconic works from American musical giants like Leonard Bernstein and John Adams one move they could take is to cool them down with a couple of more soothing European works in between.
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Bloom Explorations
If you are an insect in the superorder Endopterygota, you have the super ability to experience complete metamorphosis. You can transform from the four stages of life—egg, larva, pupa, adult—in a process called holometabolism.
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The Barest of Margins
The Starlet in the ballroom with the candlestick. Or was it the Mobster in the billiards room with the dagger?
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Music as Muse
Music was muse, medium, and the message during Kyle Marshall Choreography’s recent engagement at the Joyce Theater.
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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, and it pulls no punches.
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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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