World-class review of ballet and dance.
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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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, and it pulls no punches.
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Overheard after the curtain drop on “Theme and Variations,” the opener of English National Ballet’s latest mixed bill: “Well, it was very Balanchine!”
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Smaïl Kanouté is a French-Malian graphic designer, dancer, and choreographer based in Paris, and the founder of a Compagnie Vivons, which combines visual art, film, and live performance.
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Rosalind Crisp on DIRt (Dance In Regional disasTer zones) and how dance and collaborative arts practice might respond to the unfolding extinction crisis.
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Looking to the alphabet, many letters have been used to describe a swan, from the S of their long necks to the letters V and J to describe the overhead appearance of the flock echelons of them in flight.
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The past week has been one of celebration at New York City Ballet. The company is marking seventy-five years of existence with a season devoted to the ballets of its founding choreographer, George Balanchine.
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The Guggenheim Museum’s beloved behind-the-scenes New York dance series, Works & Process, was founded in 1984 by philanthropist Mary Sharp Cronson.
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The late Alvin Ailey famously set his sights on creating “the kind of dance that could be done for the man on the streets, the people.”
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Few dance companies would dare to put such disparate pieces together. But such is the audacious, experimental spirit of Scottish Ballet.
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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