Subversions of the Ideal
There’s a palpable intent to the swerving compositions of Pam Tanowitz’s “Pastoral:” the mannered choreography, with its long, soft angles and consciously discursive phrasing.
Plus
Latest
Un/Natural Behaviour
A night with Thick & Tight might look a little different to a standard evening of contemporary dance, in a few ways.
FREE ARTICLE
It’s the Taking Part that counts
It’s not often that you’ll get three competition kids together with the goal of not being the best. That was the goal of dancers Charlotte Mclean and Jack Anderson in collaboration with composer Malin Lewis.
Plus
Character Dance
You can't see the first character who appears in Kashia Kancey's “I Believed It Too,” which was presented at Baryshnikov Arts Center September 24-26.
Plus
Northern Soul
Northern Ballet is the little company that could. Often forgotten and in the shadow of larger UK companies, there is a sense of a new momentum since the takeover by Federico Bonneli of the Leeds-based outfit.
Plus
Power Play
The lights dim and the mystical Eye of Horus commands our focus. Hieroglyphics and distinctive carvings flank the famous Egyptian symbol of resurrection as the overture swells and the drop curtain morphs into a portal to the past.
Plus
American Icons
Fresh from performing the concert version of George Balanchine’s “Who Cares?” at the Hollywood Bowl earlier this month, Los Angeles Ballet mounted a tribute to “American Icons” which included Jerome Robbins “The Cage,” Paul Taylor’s “Dilly Dilly,” and the return of artistic director Melissa Barak’s “Wavelength” for an evening at the Broad Stage in Santa Monica.
Plus
Dancing with Soul, Stanton Welch
Born in 1969 to a pair of gifted dancers—Marilyn Jones and Garth Welch—in Melbourne, Australia, it only seemed natural that their son, Stanton Welch, would follow in his parents’ balletic footsteps.
Plus
Sunset over Malandain Ballet Biarritz
Malandain Ballet Biarritz is approaching the end of an era. After nearly three decades at its helm, Thierry Malandain will hand over the direction of the Centre Chorégraphique National to Martin Harriague in January 2027.
Plus
Poetry in Motion
After a quiet August, the New York City dance calendar fills up almost impossibly quickly, with one particular program generating ample, and justified, hype. With its first program, New York City Center’s Fall for Dance Festival kick-starts the season with a jolt of energy.
Plus
Cymru Goes for Gold
“Blue is the colour of the open sky, of water, freedom and depths we cannot fathom.” This is the mission statement for tonight’s bill from National Dance Company Wales, the first curated programme from new artistic director Bakani Pick-Up.
Plus
By Any Other Name
Anne Teresa De Keersmaeker hit the Théâtre de Chaillot like a bomb, as “Rosas danst Rosas” took over the theatre for a sold-out run this September, bringing with it the irreverence of the Belgian avant-garde of the 1980s.
PlusFeatured Reads
Firebird Rising
Long 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
Rare Birds
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.
Plus
The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Plus
Jack of Hearts
As the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Plus
School Report
One of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
Plus