No Escape to the Dream
The curtain rises on Prince Siegfried, asleep and slumped in an armchair. We enter his dream: a mysterious woman dances in the shadows, only to be abruptly seized by a somber, bird-like figure.
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Three Early Summer Dances
In this summer of torrential rains and torrid heat, dance, indoor and outside, hasn’t skipped a beat.
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Virginia Woolf: From Page to Stage
American Ballet Theatre’s annual summer season at the Metropolitan Opera House centers around long-form storytelling.
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Painterly Expression
The Sarasota Ballet’s return to Jacob’s Pillow for five days of a triple bill that included two little-seen works by Sir Frederick Ashton and a world premiere by Jessica Lang, was charged with anticipation and curiosity.
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Golden Touch
Ingrid Silva’s expression is calm, the side of her mouth upturned a few degrees, as if she’s delighting in the reception of her own joke.
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The Mahabharata: A Timeless Retelling
Why Not Theatre’s bold, multidisciplinary adaptation of the Mahabharata drew a rapt audience at Lincoln Center’s vibrant summer arts festival “Summer for the City.”
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Heavenly Bodies
Washington, D.C.’s 100° June weather wasn’t the only thing generating heat in the city. Chamber Dance Project’s 11th annual D.C. summer season production, “Red Angels,” produced its own scorching intensity as one of this summer’s early triumphs.
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Next Generation
A ballet body is essentially a deformed body. The older and more experienced the dancer, the more evident–and beautiful–this deformation is.
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Summer Fireworks
To celebrate its 85th anniversary, the American Ballet Theatre filled its summer season with exciting debuts.
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Welcome to Wonderland
A delightful production, served with verve: the National Ballet of Japan’s recent performance of “Alice in Wonderland” was an unabashed celebration of imagination, deftly showcasing all the wacky wonder of Christopher Wheeldon’s modern ballet classic.
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L.A. Anthem
Casual perfection. Studied grace. Spontaneous elegance. These are but a few of the words that came to mind when this writer observed nine gorgeous dancers from LA Dance Project and four students from the Trudi Zipper Dance Institute at the Colburn School, cavorting around the courtyard and grounds of the Wallis Annenberg Center for the Performing Arts last Friday in Janie Taylor’s “Anthem.”
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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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