World-class review of ballet and dance.
“This resting, patience” has been danced in cities ranging from Helsinki to Porto to Venice, and in all of them the crooning vocals of its most-repeated music, Burt Bacharach’s “What the World Needs Now Is Love,” must have been instantly familiar.
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In the Chunky Move Studios, for Caroline Meaden’s “Immacolata,” presented as part of Melbourne Fringe Festival, two banks of seats, on the diagonal, hold a room.
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Upon arrival, two tall screens reveal a kaleidoscopic, fluid slither of serpents, as I find a seat in the downstairs Sylvia Staehli Theatre at Danceshouse, for Weichen Cui’s “In Green, In White—Metamorphosis of The White Snake,” presented as part of Melbourne Fringe Festival 2026.
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In approaching a New York City Ballet Fall Fashion Gala commission, choreographers have two choices: make a dance that hinges upon the fashion, or make a dance regardless of the fashion, and hope that the costumes enhance rather than detract from the steps.
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It’s a drag to report that I had the urge to walk out of my first performance back in NYC after a long summer break.
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As much as it is a cliché to reference, there is something special in finding a work that so aptly fits that famous quote from George Balanchine: “See the music. Hear the dance.”
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Wei Wang begins as any faun does: alone and center stage, awakened from a reverie and looking a touch wobbly.
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Coming in hot off their premiere at the Paris Opera Ballet, rising creative duo Jess & Morgs present “Deepfake.”
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There’s a palpable intent to the swerving compositions of Pam Tanowitz’s “Pastoral:” the mannered choreography, with its long, soft angles and consciously discursive phrasing.
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A night with Thick & Tight might look a little different to a standard evening of contemporary dance, in a few ways.
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You can't see the first character who appears in Kashia Kancey's “I Believed It Too,” which was presented at Baryshnikov Arts Center September 24-26.
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Northern Ballet is the little company that could. Often forgotten and in the shadow of larger UK companies, there is a sense of a new momentum since the takeover by Federico Bonneli of the Leeds-based outfit.
PlusLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
PlusIt is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
PlusAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
PlusOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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