World-class review of ballet and dance.
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.
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This past July, the newly resurrected London City Ballet opened its first season since 1996 with a program of rarely seen works and new choreographies.
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Imagine a large net stretched across the vast expanse of our world system studded with an infinitely faceted jewel at each intersection.
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A smoky, orange hue hovers over the stage like wildfire smoke. A woman emerges from the flame, floating erect atop a crawling man’s back. She bends her knees and dismounts, arriving center stage, delivered to the audience like a queen.
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Last night I went to my first show of New York City’s jam-packed fall dance season, and though I never floated outside of the space-time continuum, I did feel invigorated by the New York City Ballet’s excellent opening program.
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En Chalant,” Richmond Ballet artistic director Ma Cong said at the opening night of the company’s Studio Finale series on September 17th, “is the opposite of nonchalant.”
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Terry Beck first saw Hellmut Gottschild’s Zero Moving dance company as a student at Temple University in the ’70s. Beck was working towards a teaching degree in Special Education and took a work study gig as a glass box technician.
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Whether bending backwards as if channeling Paul Chavez’ otherworldly sounding music, or crouching down ever so slowly and quasi-teetering on the floor, dancer Roxanne Steinberg proved a master of the body.
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On opening night of the world premiere of Christopher Wheeldon’s “Oscar” at the Australian Ballet’s new home for the next three years, the Regent Theatre (as the State Theatre undergoes renovations), I am catapulted from September 13, 2024 to April 26, 1885, and the commencement of the trial of Oscar Wilde.
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Having a dance company is always difficult. But founding a troupe and keeping it going for 25 years is even more challenging. Add to that the political, cultural and economic landscape of South Africa, and the odds might seem unsurmountable.
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New York City Ballet concluded its 75th anniversary year with its traditional summer residency upstate at the amphitheater of Saratoga Springs’s Performing Arts Center (SPAC).
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.
PlusIt 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.
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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.
PlusAs 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.
PlusOne 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.
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