World-class review of ballet and dance.
Marie Antoinette is not an entirely sympathetic character. Her penchant for luxury and extravagance—and the degree to which she was out of touch with the lives of the majority— made her a symbol of the wealth disparity that prompted the French Revolution.
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Ascending the Guggenheim Museum's rings through Rashid Johnson's retrospective, “A Poem for Deep Thinkers,” is a dance in of itself.
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A lone musician stands at the corner of the darkened stage. His shakuhachi (bamboo flute) echoes, melancholy, as the sound of an ominous wind rises.
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“Birth + Carnage” is a fantastic title. The premise behind this show, which premiered at LaMama Experimental Theater Club at the end of December, was exciting too.
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In 2017, David Bintley—Birmingham Royal Ballet’s then-director—adapted Sir Peter Wright’s much-loved 1990 production of “The Nutcracker” for London’s Royal Albert Hall.
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This program of three works by William Forsythe set to the music of James Blake has special meaning for La Scala Ballet.
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Will Tuckett’s new production of the “The Nutcracker” for the National Ballet of Japan serves up a holiday feast for the senses. Sweetly invigorating, it’s also a warm toddy for the soul. From start to finish, Tuckett’s “The Nutcracker” is truly a dream.
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Between New York City Ballet’s “George Balanchine’s The Nutcracker®” and “The Magic Flute” at the Metropolitan Opera, it’s hard to compete with the Upper West Side’s holiday kid offerings.
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The Sun King not only invented ballet in its modern form but in 1713 also founded the oldest ballet academy in the world.
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The Choreographic Platform Austria (CPA) held in Salzburg from 20–22 November 2025, has become a biennial focal point for contemporary dance in Austria.
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It’s “Nutcracker” season at San Francisco Ballet—36 performances packed into three weeks—which means that the company is currently serving two distinct audiences.
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If Notre-Dame remains one of the enduring symbols of Paris, standing at the city’s heart in all its beauty, much of the credit belongs to Victor Hugo.
PlusTwo performers crawl in on hands and knees wearing neon green, hooded coveralls—the lightweight papery kind made for working in a sterile environment—and clusters of balloons pinned to their backs.
PlusWill Rawls makes boundaries visible by defying them. Known for the disciplinary and topical range of his projects, the choreographer, director, and performer approaches issues of representation in “[siccer],” a multi-part, multi-site work co-presented by L’Alliance New York’s Crossing the Line Festival. A live performance at Performance Space New York...
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It is always interesting when multiple theme steps emerge over the course of a mixed repertory evening, but it is uncanny on one featuring five different ballets, each with a different choreographer and composer, covering a twenty-year span (2005-2025).
PlusZvidance premiered its new work “Dandelion” mid-November at New York Live Arts. Founded by Zvi Gotheiner in 1989, Zvidance has been a steady presence in the New York contemporary dance scene, a reliable source of compositional integrity, and a magnet for wonderful dancers.
PlusCleveland native Dianne McIntrye received a hometown hero's welcome during her curtain speech prior to her eponymous dance group thrilling the audience in her latest work, “In the Same Tongue.”
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