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Khansa, <em>Warsha</em> and the Queering of Lebanese Dance
REVIEWS | Par Lorna Irvine

Khansa, Warsha and the Queering of Lebanese Dance

Mo Khansa, who works simply as Khansa, is a radical young Lebanese dance artist, choreographer and singer who interrogates ideas about identity, place, gender, sexuality and autonomy in his incredible work. Influenced by his mother, herself a more traditional type of dancer, and iconic artists like Arca, Robert Mapplethorpe, Bjork and FKA Twigs, his is a singular path. Watching him move feels like being let in on a secret, one which could blow things apart—such is his power.

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Friends in High Places
REVIEWS | Par Sara Veale

Friends in High Places

This mixed bill takes its name from the daily barre classes Tiler Peck started hosting on Instagram Live during the 2020 lockdown, an impromptu venture that soon had 15,000 people tuning in to #turnitoutwithtiler. The New York City ballet superstar is a much-loved luminary, known for her sunny energy on and off stage. That vim comes through in this fizzing programme of new and recent work, Peck’s London debut, giving it a warmth that’s often missing from the contemporary ballet sphere, including in NYCB’s slick neoclassical house style.

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A Resilient History
FEATURES | Par Josephine Minhinnett

A Resilient History

Returning after its two-year pandemic hiatus, the 33rd International Conference and Festival of Blacks in Dance kicked off at the end of January with 500 attendees from ten countries convening in downtown Toronto. Hosted in a different North American city each year, the conference visits Toronto for the third time with local co-host dance Immersion, a non-profit organization that produces and promotes dancers and dances of the African Diaspora.

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Naharin’s Enigmatic Hora
REVIEWS | Par Karen Greenspan

Naharin’s Enigmatic Hora

The Batsheva Dance Company returned to New York City after a four year hiatus for a two-week engagement (February 28-March 12) at the Joyce Theater to perform “Hora,” created by Ohad Naharin. The renowned choreographer, having led this premier dance company of Israel from 1990 to 2018 as artistic director, has shaped an extraordinary company of dancers—creatives in their own right—through his nurturing leadership, visionary approach to dance practice, and his distinctive movement language and toolbox called Gaga. In his current role as house choreographer, he continues to endow Batsheva with a repertoire of bold, characteristic works that are recognized...

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Rethinking the Broadway Body
BOOKSHELF | INTERVIEWS | Par Sophie Bress

Rethinking the Broadway Body

Broadway Bodies is dedicated to “anyone who has ever been told they were too fat, too short, too gay, too disabled, and otherwise too much or not enough to be in a musical.” The book, written by musical theater scholar Ryan Donovan, examines the ways different aspects of identity have historically affected casting on the Great White Way, using shows like A Chorus Line, Dreamgirls, and La Cage aux Folles as case studies to illustrate the issues that arise when bodies are used as an artistic medium.

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A New Vision with Melissa Barak
INTERVIEWS | Par Victoria Looseleaf

A New Vision with Melissa Barak

It’s been a good year for women leading ballet companies: In the recent past, Linda-Denise Fisher-Harrell took the reins at Hubbard Street Dance Chicago; Tamara Rojo became the first female artistic director of San Francisco Ballet in the troupe’s 89-year history; and Jodie Gates is leading Cincinnati Ballet into a new era.

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A Quiet Presence
INTERVIEWS | Par Marina Harss

A Quiet Presence

When Jared Angle retired from New York City Ballet this past January after a twenty-five year career with the company, he did so in a characteristically understated manner. He danced in only one of the three ballets on the program, playing Prince Ivan in Balanchine’s “Firebird.” Afterward, he received only a modest number of bouquets, having requested that the money be spent, instead, on New York City Ballet’s Education and Public Programs. He then said a few words, thanking the audience for coming to the ballet, his colleagues for their years of friendship, and the orchestra for their music. There...

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Shallow Waters
REVIEWS | Par Candice Thompson

Shallow Waters

On Friday March 3, Brooklyn Academy of Music’s Howard Gilman Opera House transformed into Pina Bausch’s fantasy of Brazil via “Água.” For nearly three hours, the charismatic dancers of Tanztheater Wuppertal Pina Bausch, now under the direction of Boris Charmatz, rollicked through classic Bausch terrain—an endless parade of dreamy solos, comedic vignettes, and raucous ensemble scenes—inside a dynamic set.

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Know Your Audience
REVIEWS | Par Faye Arthurs

Know Your Audience

After an absence of six years, the New York City Ballet revived Peter Martins’s “The Sleeping Beauty” to close out the Winter Season. A lot has changed at the ballet in that interim, including the departure of Martins himself. But I hadn’t seen this “Beauty” from the front in over 20 years (though I danced 11 different roles in the production in that span)—so for me, it was like seeing a premiere. I’d had it in my mind that Martins’s “Sleeping Beauty” was by far the best of his classical full-lengths (the others being “Romeo and Juliet” and “Swan Lake”),...

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Dressed to Kill
REVIEWS | Par Róisín O'Brien

Dressed to Kill

It’s about style. Yes, it’s about men, it’s about men after war, it’s about Birmingham, it’s about working-class identity. But “Peaky Blinders” is also about style. It’s a slow-motion prowl under the metal beams of a hot spitting factory, a cocksure gaze beneath a flat cap, with long coats flapping and the orange stab from a lit cigarette.

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Smooth as Silk, Strong as Steel
REVIEWS | Marina Harss

Smooth as Silk, Strong as Steel

The style Kyle Abraham has honed over the years is unmistakable: a silken coordination of the body in which ripples and undulations pass through skin and sinew; an expressive use of the back; hands that touch, and really feel; impulses that start here but find their way there, and then there; a deep sensitivity to music coupled with an intelligent response to lyrics; a penchant for melancholy, leavened with sass. 

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Dancing in the Rain with Boris Charmatz
INTERVIEWS | Par Veronica Posth

Dancing in the Rain with Boris Charmatz

In an extended phone interview, I had the pleasure of posing question after question to Boris Charmatz. He told me about his various projects as dancer and choreographer, starting with association EDNA, the Musée de la Danse and finishing with his artistic direction, as of September 2022, of the world-renowned Tanztheater Wuppertal Pina Bausch. This interview has been edited for length and clarity.

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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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