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Kenneth MacMillan Anastasia
REVIEWS | Par Rachel Elderkin

Visions of the Past

“Anastasia” may be one of the few full length ballets Kenneth MacMillan created but it is rarely performed. Yet this carefully constructed work feels deserving of a place in company repertoire. If you accept the slow pace, it is an enjoyable, strikingly modern ballet and, in the hands of the Royal Ballet, it is danced with an easy elegance.

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Pat Graney
REVIEWS | Par Victoria Looseleaf

Hear them Roar

What is it about a girl in stilettos—those near lethal heels generally designed by men: think Jimmy Choo, Manolo Blahnik and Christian Louboutin—that make a woman feel both seriously sexy and über-vulnerable at the same time? In her, “Girl Gods” (we prefer the term ‘Goddesses’), a dance three years in the making and a Los Angeles premiere, choreographer Pat Graney ventures into the terrain of feminine tropes with mordant wit, alarming candor and reservoirs of rage.

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A Tribute to Violette Verdy
REVIEWS | Par Jade Larine

A Tribute to Violette Verdy

In case you missed it, during his short tenure as a ballet director, Benjamin Millepied tried to force-feed the Parisian audience with an all-you-can-eat Balanchine menu.

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Loni Landon
REVIEWS | Par Erica Getto

The Conduct Of A Person

In his 1881 guide Our Etiquette and Social Observances, writer Hudson K. Lyverthey aims to outline the “rules for the conduct of a person in all of his relations to society.” He uses drawing rooms, street corners, social dances, and even church as settings for this discussion. His booklet, he explains, is unique because it “is designed for both ladies and gentlemen; the advantages of this plan will be evident.”

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Los Angeles Ballet Modernists
REVIEWS | Par Victoria Looseleaf

L.A. Tarantella

A Russian, a Dane and a Canadian—all choreographers—may never have walked into a bar together, but their works made for a magnificently diverse program presented by Los Angeles Ballet to kick off the troupe’s 11th season. The three dancemakers, George Balanchine, August Bournonville and Aszure Barton, represent three distinct styles, and showcased the company’s commitment to preservation as well as being cleverly hip in the moment.

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Sidi Larbi Cherkaoui
REVIEWS | Par Rachel Elderkin

Breaking Point

The dancers and musicians gather on the stage, the chorus of their voices rising through the auditorium. There’s a Middle Eastern influence to their music, a complex layering of sound that comes from the diversity of styles choreographer Sidi Larbi Cherkaoui has brought together. Each of his dancers and musicians are experienced in different disciplines and this crossing of skills provides a rich palette for Cherkaoui to draw from. The result is a carefully crafted work that emerges from a maelstrom of music, movement, voice and image.

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Never Never Gonna Give Up
REVIEWS | Par Erica Getto

Never Never Gonna Give Up

In Jane Austen’s 1803 novel Northanger Abbey, seventeen-year-old Catherine Morland spends the winter in Bath, a town tucked away in the English countryside. While there, Morland finds herself at a series of balls and social dances. She also finds herself in the company of new friends—and suitors. One is Isabella Thorpe, a society sweetheart who deals—and delights—in gossip. Another is her brother John Thorpe, a wealthy young man whose arrogance and entitlement is evident even when he dances. As Morland spends more time with these characters at community dances, her view of wealthy English society evolves: although society culture at...

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Jasmin Vardimon's Pinocchio
REVIEWS | Par Rachel Elderkin

Liar, Liar

From the opening moments, Jasmin Vardimon's “Pinocchio” resonates with the kind of magic you only encounter in theatre. One after the other the performers rise from the floor, hand in hand, their bodies straight and stiff, mechanically tipping in turn like the wooden figurines of an old town square clock. It’s an enduring image of this show—and it is one of many.

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William Forsythe
REVIEWS | Par Victoria Looseleaf

The Forsythe Saga

Think of it as the terpsichorean equivalent of a mic drop—times four, or Beyoncé before Beyoncé (but a decided precursor to “Formation”). However one chooses to look at it, William Forsythe’s “Artifact Suite,” performed over the weekend by Houston Ballet (who premiered it just last month), was an anarchic, jaw-dropping stunner. One third of a unique bill—a trio of American ballet troupes each performing a Forsythe opus—“Artifact” is a one-act, forty-minute abstraction of the his 1984 “Artifact,” the first piece the American-born choreographer made for his now disbanded troupe, Ballett Frankfurt.

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Wayne McGregor Entity
REVIEWS | Par Sara Veale

On the Hour

Sixty minutes is a tricky length for a work of dance. Slot an uninterrupted hour of dance into a mixed bill and you risk an inattentive audience. But present it as a stand-alone production and you face an extra layer of critical scrutiny—is the piece truly substantial enough to carry an entire evening?

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Nacera Belaza
REVIEWS | Par Gracia Haby

Dirty Laundry

The noise of the day drops away as I make my way to the upstairs studio of Dancehouse. I am one part of an increasingly hushed procession assembled on opening night to experience Sarah-Jane Norman’s “The River’s Children” (2013), and “Take This, For It Is My Body” (2010) paired with “Heirloom” (2013), and Nacera Belaza’s “The Shout” (2008), presented as part of Melbourne Festival.

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