World-class review of ballet and dance.
Five years ago Oakland Ballet launched its Dancing Moons Festival as a way to highlight Asian American and Pacific Islander choreographers in response to the surge of anti-AAPI hate during the height of the coronavirus pandemic.
Plus
Gibney Company’s season at the Joyce Theater was full of common threads, promising beginnings, and lingering energy.
Plus
It seems fitting that as the world held its collective breath over violent threats from the US White House, the Martha Graham Dance Company would perform “Chronicle,” an anti-war statement from 1936, as the centerpiece for the opening of its New York City Center season.
Plus
Perhaps best known for touring with New York City Ballet associate artistic director Wendy Whelan in her show “Restless Creature,” Joshua Beamish grew up dancing in his Canadian hometown of Kelowna, British Columbia, founding his own company when he was just 17.
Plus
Ballet Unbound” was a diverse mixed repertory program that landed squarely in Ohio Contemporary Ballet’s sweet spot as a company presenting classical modern dance, and neo-classical and contemporary ballet works.
Plus
It is a strange time to be celebrating our nation’s milestone birthday, our semiquincentennial.
FREE ARTICLE
It’s hard to predict where Hubbard Street Dance Chicago will go next. Literally. Through the repertoire selections presented in the company’s two-week run at the Joyce Theater, the dancers demonstrate a particular aptitude for moving in a way that’s endlessly surprising.
Plus
“The Juniper Tree” is a macabre fairy tale involving three feminine archetypes: mother, stepmother, daughter.
Plus
Meryl Tankard is somewhat of an Aussie dance legend. A choreographer of international renown, her works have been mounted and premiered on prestigious companies ranging from Royal Ballet of Flanders and NDT III in Europe, to the Australian Ballet and Sydney Dance Company in her homeland.
Plus
Do ballet trends bubble up cyclically, or did artistic directors collude to engineer this year’s “Firebird” mania? Suddenly this spring, the flaring-eyed creature immortalized in Stravinsky’s 1910 score is headlining programs at American Ballet Theatre, New York City Ballet, and Dance Theatre of Harlem, almost all at once.
PlusThe 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.
PlusLong 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.
PlusWhen 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?
PlusIn 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.
Plus