The Tokyo Ballet's “Giselle”
When Théophile Gautier abandoned himself to “that misty, nocturnal poetry, that fantasmagoria” he found within the lines of Heinrich Heine, the familiar legend of “Giselle,” the ballet, began to take shape.
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Looking for Juan
The crowd of museum goers gathers around from multiple vantage points above and around the tiled, skylit courtyard of the Metropolitan Museum’s Robert Lehman Wing to view the dance performance.
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Mexicanismo
Teeming with riotous colors, an exhilarating original score, and dancing of the highest, indeed, most glorious order, “Frida,” performed by Dutch National Ballet and choreographed by the insightful Annabelle Lopez Ochoa, not only proves that story ballet is alive and well, but can also be told in new and ingenious ways.
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Bet the House on Ballet X
Nicolo Fonte’s choreography first appeared on my radar when Aspen Santa Fe Ballet gave his “In Hidden Seconds” its Philadelphia premier in 2010.
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Swan in Love
Why is it so hard to find a good “Swan Lake” these days? The ballet is performed by practically every classical company, and yet so few of the myriad versions in circulation are any good.
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Pioneering Spirit
In “Pioneers,” the new double bill from the pioneering Ballet Black, we are treated to two distinct works between which the dancers transition with grace and pizazz.
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Storytelling
At Kaatsbaan, the 153-acre cultural park in New York’s Hudson Valley, Emily Coates and Emmanuèle Phuon performed the intriguing program “We.”
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Two Hearts as One
It has been reassuring to see relatively full houses so far during American Ballet Theatre’s spring season at the Metropolitan Opera House, its first under the leadership of Susan Jaffe.
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Sparkling Celebration
I descend the stairs of the State Theatre, for that is where the emeralds are, beneath the Earth’s surface.
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New Definitions
SFDanceworks performs only a short run once a year, but it fills a big void in San Francisco.
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Untethered
Much of the power behind Annie Rigney's “…she was becoming untethered” comes from what you can’t see. The new evening-length piece, which premiered at the 92NY, uses illusion and subtleties to meld experiences of sorrow, horror, courage, and humor, guiding the audience on a mysterious journey through the surreal.
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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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