World-class review of ballet and dance.
Jessica Lang’s “Black Wave,” her first creation as Pacific Northwest Ballet’s new resident choreographer, is an elusive allegory wrapped inside a metaphor wrapped inside a dream. Rarely have I so wanted to ask a choreographer what she intended.
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To celebrate the 90th anniversary of the School of American Ballet, advanced students performed Balanchine’s “Serenade” (also 90 this year) on a special, one-off New York City Ballet program.
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“Circle Electric” makes a magnifying glass of the stage, and places different dancers in different configurations in the spotlight with the intention of observing them and thereupon making inquiries.
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Across North Africa, the all-night music-dance-trance ritual called lila (pronounced lee-lah) is celebrated as a means for spiritual healing.
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The Fall for Dance Festival programming formula runs roughly thus: feature a new troupe, include a pet (or vanity) project of a big NYC star, and end with a feel-good group showcase.
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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.
PlusWatching 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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