Numbers Game
Almost mirroring the geopolitical situation, contemporary dance in the West—already in the USA and soon in Europe—is showing signs of wear and tear, if not decline.
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Romeo Revealed
Rudolf Nureyev’s “Romeo and Juliet” is built with a finely calibrated balance of choreographic structure, theatrical intelligence, and historical awareness.
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Pretty as a Picaresque
“Too much sanity may be madness!” Carlos Acosta’s “Don Quixote” revival is proudly, fittingly quixotic—a confetti cannon of cheerful characterisations and vibrant visuals that culminate in an actual confetti cannon.
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Breaking Bread
As a journalist and critic, I am often privy to an artist’s process before viewing their work. This insight pays off as an audience member, offering new ways of allowing a piece to come to life before my eyes.
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An Original Giselle
We ballet fans grow irrationally attached to the productions of the classics we grow up with—taking in a different “Swan Lake” or “Giselle” from the one we know can make us feel like sensitive children refusing to eat the non-Kraft-brand mac ‘n cheese.
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Sculptural Lines
The idea of bringing together the Louvre’s Michel-Ange / Rodin. Corps vivants exhibition, on view from mid-April to late July, and an evening of pas de deux danced by Paris Opéra Ballet soloists is so wonderfully potpourri-like that it invites reflection even where reflection may not have been the point.
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New Frontiers
Crystal Pite, Medhi Walerski and Johan Inger belong to a shared artistic milieu, and each has cultivated a significant relationship with Ballet British Columbia, directed by Walerski himself since 2020.
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A State of Grace
Few nights at the ballet are as tantalising as the opening night of the Australian Ballet’s “Romeo & Juliet” at the Sydney Opera House.
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Power Couple Energy
There's something glorious about watching a married couple dancing in sync. It's the shared looks, smiles, in-jokes and sense of being completely intuitive, working in symbiosis.
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Tranquil Intrigue
The title of this dance interpretation of The Tempest highlights a notable departure from canon. In “We Caliban,” Shobana Jeyasingh imagines Shakespeare’s titular native in the collective sense—a tribe, a spirit and a place at once.
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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.
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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.
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Tranquil Intrigue
The title of this dance interpretation of The Tempest highlights a notable departure from canon. In “We Caliban,” Shobana Jeyasingh imagines Shakespeare’s titular native in the collective sense—a tribe, a spirit and a place at once.
Plus
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
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
Too Good to be True
When we think of countries that have shaped the world of dance our mind will often drift to the United States, Russia, or Germany. But what of Luxembourg?
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Looking Forward
In times of rapid change, predicting the road ahead can seem to be a fool’s errand. But on a spring afternoon at Lincoln Center, I feel confident in this assertion: the future of dance is very bright.
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