World-class review of ballet and dance.
He is the love of your life. You are his one-and-only. The pair of you is doomed: Obligations to the social order make your relationship impossible. The only way out—double suicide. Actually, this being eighteenth-century Japan, you let him literally do it all; still, you are his forever and there is no turning back.
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Measured against his own criteria, French dance maker Jérôme Bel would seem a failure. In the eponymously named show that opened the L’Alliance New York Crossing the Line Festival last week, Bel professes he has no desire to entertain an audience.
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It’s a new era at Smuin Contemporary Ballet, but incoming artistic director Amy Seiwert was still invoking her old boss pre-curtain as the company toured its first program under her leadership to the San Francisco suburb of Walnut Creek.
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I have a confession. Until last week, I had never seen “Coppélia.” I know the story well, however, and a young me performed many approximations of Swanilda’s role alone in my bedroom, thanks to a beloved and well-worn copy of The Illustrated Book of Ballet Stories, a book and cassette combo narrated by Darcey Bussell.
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The second program of the New York City Ballet’s fall season was called “Eclectic NYCB” and it lived up to its billing. It featured a second-tier Balanchine work, a Jerome Robbins crowd-pleaser, and two heartfelt pas de deux acquired from outside dance festivals—one a company premiere.
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New York City Center's Fall for Dance Festival continued with programs featuring Complexions Contemporary Ballet, a world premiere duet performed by Skylar Brandt and Herman Cornejo, and a tap tribute to Nina Simone performed by M.A.D.D. Rhythms collective, among other performances.
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This past July, the newly resurrected London City Ballet opened its first season since 1996 with a program of rarely seen works and new choreographies.
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Imagine a large net stretched across the vast expanse of our world system studded with an infinitely faceted jewel at each intersection.
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A smoky, orange hue hovers over the stage like wildfire smoke. A woman emerges from the flame, floating erect atop a crawling man’s back. She bends her knees and dismounts, arriving center stage, delivered to the audience like a queen.
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Last night I went to my first show of New York City’s jam-packed fall dance season, and though I never floated outside of the space-time continuum, I did feel invigorated by the New York City Ballet’s excellent opening program.
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En Chalant,” Richmond Ballet artistic director Ma Cong said at the opening night of the company’s Studio Finale series on September 17th, “is the opposite of nonchalant.”
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Terry Beck first saw Hellmut Gottschild’s Zero Moving dance company as a student at Temple University in the ’70s. Beck was working towards a teaching degree in Special Education and took a work study gig as a glass box technician.
FREE ARTICLEWatching 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,...
PlusThe 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.
PlusAfter 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.
PlusAn “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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