Fancy Footwork
In the dimly lit theater at Irish Arts Center on the west side of Manhattan, James Greenan puts himself through his paces.
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Everywhere and Ever
There was no shortage of drama and poetry this past week at San Francisco Ballet.
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Old (Creative) Habits
At 82, Twyla Tharp shows no signs of slowing down. She brought two world premieres and an all-star revival to the Joyce this week. The newest dances made it clear that although she’s still a dynamo, aging is very much on her mind. She is exploring wistful terrain these days, but she is doing it with her characteristic humor and high step count.
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Essence of the Female
Ausia Jones, who also dances with Ballet Jazz Montreal, choreographed the opening work at PennLive Arts presentation of the company’s touring show, Essence.
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Strictly Ballroom
The New York City Ballet’s excellent 2023 Fall Season featured only the works of founding choreographer George Balanchine. This winter, eight choreographers are being showcased as the company’s 75th anniversary celebration continues.
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Enlightenment
June 16, 1989. Wearing only black leggings and a pixie haircut, Molissa Fenley performed her solo, “State of Darkness,” inspired by Nijinsky’s “Le Sacre du Printemps” at the Colorado Dance Festival in Boulder.
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A Star is Reborn
It is not unusual for a New York City Ballet program to consist of two Peck ballets and a Ratmansky. But until last night, there had not been two different Pecks represented in such a scenario.
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Timeless Expression
In these fast-paced times, where we are bombarded with spectacles that compete to be flashier, more action-packed, and more hi-tech than the next, it was a joy to experience an evening of charm and timeless simplicity.
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Mere Mortals
The popular sentiment is clear: Matrix atmosphere meets ballet is a hit. “Mere Mortals,” Tamara Rojo’s first production as new artistic director at San Francisco Ballet, must be counted a success.
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For the Soul
The name of Leonardo Sandoval and Gregory Richardson’s group, Music from the Sole, is an obvious allusion to the fact that the motor behind their performances is rhythm, and that this rhythm is often produced by the soles of the feet, in the form of tap.
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Coast to Coast
Bodytraffic returned to Penn Live Arts at Annenberg during last weekend’s snowstorm to perform the world premiere of Philadelphia-based choreographer Matthew Neenan’s latest work, “I Forgot the Start.”
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The Incredibles
If Simone Biles, Baryshnikov, Michelle Kwan, Mr. Wiggles, and Bruce Lee somehow had a baby, that child would be an ideal candidate for the Compagnie Hervé Koubi.
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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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