Swooping In
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.
Plus
Latest
On the Fringes
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.
Plus
Fashionable Fall
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.
Plus
Shakespearean Twist
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.
Plus
Dance with Defiance
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.”
Plus
Wild Things
Wei Wang begins as any faun does: alone and center stage, awakened from a reverie and looking a touch wobbly.
Plus
The Screen is Always Greener
Coming in hot off their premiere at the Paris Opera Ballet, rising creative duo Jess & Morgs present “Deepfake.”
Plus
Subversions of the Ideal
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.
Plus
Un/Natural Behaviour
A night with Thick & Tight might look a little different to a standard evening of contemporary dance, in a few ways.
FREE ARTICLE
Character Dance
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.
Plus
Northern Soul
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.
Plus
Power Play
The lights dim and the mystical Eye of Horus commands our focus. Hieroglyphics and distinctive carvings flank the famous Egyptian symbol of resurrection as the overture swells and the drop curtain morphs into a portal to the past.
PlusFeatured Reads
Firebird Rising
Long 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.
Plus
Rare Birds
It 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.
Plus
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.
Plus
Jack of Hearts
As 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.
Plus
School Report
One 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.
Plus