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Bound To Walk Alone
REVIEWS | Par Erica Getto

Bound To Walk Alone

Every year, revellers flock to New York City’s Times Square to usher in the New Year. In 1999, the celebration was more grand than usual: Times Square 2000 featured twenty-four hours of live programming to usher in the Millennium. More than one million people attended; more than one billion tuned into the live broadcast. One of the masterminds behind this spectacular was David Parsons, who choreographed and directed its dance elements. Parsons seems an ideal choice for the event: since he founded Parsons Dance in 1985 with Tony Award-winning lighting designer Howell Binkley, he has been developing pieces that pulse...

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Rite, A Sequel
REVIEWS | Par Rachel Stone

Rite, A Sequel

In May of 1913, the choreographer Vaslav Nijinsky premiered a ballet that culminated in a riot. The ballet, “The Rite of Spring,” was set to Igor Stravinsky’s notoriously finicky score, which tremors and thrums like something buried, vengeful, underground. Over the course of the performance, Nijinsky’s cast enacted two sacred rites; the first, a harvest celebration, and the second, the ritual sacrifice of the Chosen One, a virginal maiden commanded to dance until she dies. Stravinsky had composed the piece to evoke his family home in Russia, the wildness of village life, and the cyclical rites of harvest growth and...

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Dances at a Gathering
REVIEWS | Par Rachel Stone

Returning to Robbins

“THERE ARE NO STORIES TO ANY OF THE DANCES IN ‘DANCES AT A GATHERING,’” the American choreographer Jerome Robbins reportedly wrote in a missive to a prestigious dance magazine in advance of the ballet’s New York City Ballet premiere of “Dances at a Gathering” in 1969. “THERE ARE NO PLOTS AND NO ROLES. THE DANCERS ARE THEMSELVES DANCING WITH EACH OTHER TO THAT MUSIC IN THAT PLACE.”

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Northern Ballet Jane Eyre
REVIEWS | Par Sara Veale

Spirited Away

“I am not talking to you now through the medium of custom, conventionalities, nor even of mortal flesh: it is my spirit that addresses your spirit; just as if both had passed through the grave, and we stood at God's feet, equal—as we are!”

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Strictly Come Dancing
REVIEWS | Par Lorna Irvine

S'Wonderful

Katharine Hepburn once quipped of Fred Astaire and Ginger Rogers: “Fred gave Ginger class, and Ginger gave Fred sex.” Ballroom champs and married couple Janette Manrara and Aljaž Skorjanec share a more even split of both in this charming homage to Astaire's dazzling, game changing career. They simply ooze personality, wit and sex appeal. Far more meta and clever than a Hollywood homage should be, the show is bursting with insights on Astaire's rise to the top, and features brilliant choreography from director Gareth Walker and assistant choreographer Scott Coldwell.

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Dancing on the Edge
REVIEWS | Par Oksana Khadarina

Dancing on the Edge

Miami City Ballet concluded its 2017/18 season at Fort Lauderdale’s Broward Center for the Performing Arts in style with a program that featured ballet’s greatest hits of past and present: George Balanchine’s historic “Apollo” and his darkly enchanting and haunting dance-drama, “La Valse,” plus the company’s premiere of Alexei Ratmansky’s exuberant and nostalgic “Concerto DSCH.”

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Unbound
REVIEWS | Par Rachel Howard

Future Movement

A festival of new works in search of ballet’s future must be valued as much for the conversation it catalyzes as the new dances themselves, and on this count alone, San Francisco Ballet’s Unbound festival ranks as a landmark success. Heated, giddy, disappointed, perplexed: Talk echoed through the War Memorial Opera House lobby all last week, as audiences rushed from candid panel discussion to curtain time, and the 12 international choreographers commissioned for this sweeping, questing survey paced the aisles, and glamorous visitors like Julie Kent flitted through the crowds. Ballet diehards and newcomers alike compared knee-jerk reactions. And the...

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Alonzo King LINES
REVIEWS | Par Merli V. Guerra

Invisible Threads

Presented by World Music/CRASHarts, “Sutra” highlights one of the finest most recent collaborations of Eastern music with Western dance, showcasing the innovative melodies of composer Zakir Hussain and contemporary ballet choreographer Alonzo King. “Sutra” is not only World Music/CRASHarts’ first commissioned work, but marks the 35th Anniversary of Alonzo King LINES Ballet as well, and made its world premiere in the company’s home city of San Francisco, Calif. before making its East Coast debut at the Institute of Contemporary Art in Boston, Massachusetts.

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Animal Nature
REVIEWS | Par Gracia Haby

Animal Nature

From modern Latin, from the Greek words sumbiōsis, ‘a living together,’ sumbioun, ‘live together,’ and sumbios, ‘companion’ comes the word symbiosis, an interaction between two different organisms living in close physical association, typically to the advantage of both. In the dictionary, the very definition of a symbiotic relationship, why, it almost sounds like a pas de deux. A ‘step of two’ performed by dancers working together, dependent upon each other, with each other, in synchronicity, aware, at all times, of the other.

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Surrender
REVIEWS | Par Rachel Howard

Surrender

I wonder if it’s been like this for New Yorkers: You see one Justin Peck ballet, set to an orchestra score written by a pop musician, and you’re half-charmed by the youthful exuberance, and appreciate the influence of Jerome Robbins, but keep a healthy reserve of skepticism because somehow the whole package seems to lack substance. But then you see a more classical Peck ballet—“In Creases,” say, set to Philip Glass’s score for two pianos—and the formal intelligence is undeniable, but the exuberance remains, and you think, OK, he’s not just a pop-culture re-packager. And then maybe you see his...

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Dance Theatre of Harlem
REVIEWS | Par Victoria Looseleaf

Angels in America

There are angels on earth, and they are the dancers, choreographers, composers and artistic directors who help collectively elevate the hearts and minds of concert-going mortals-if only for a brief respite—especially in these very troubled times. To be more specific: Dance Theatre of Harlem, under the assured and loving hands of Virginia Johnson, made a triumphant debut at the Broad Stage in a program of three disparate—and emotionally charged—works.

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Irresistible
REVIEWS | Par Rachel Elderkin

Irresistible

“Manon” is perhaps one of Kenneth MacMillan's most celebrated works, so it is fitting that it draws to a close a Royal Ballet season that has seen a number of performances in commemoration of the 25th anniversary of the choreographer's death.

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Featured Reads

REVIEWS | Rachel Howard
Starry Nights

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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