Poetic Visions
Ascending the Guggenheim Museum's rings through Rashid Johnson's retrospective, “A Poem for Deep Thinkers,” is a dance in of itself.
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A Dance Remembered
A lone musician stands at the corner of the darkened stage. His shakuhachi (bamboo flute) echoes, melancholy, as the sound of an ominous wind rises.
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Cosmic Echo
“Birth + Carnage” is a fantastic title. The premise behind this show, which premiered at LaMama Experimental Theater Club at the end of December, was exciting too.
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A Spectacular Ride
In 2017, David Bintley—Birmingham Royal Ballet’s then-director—adapted Sir Peter Wright’s much-loved 1990 production of “The Nutcracker” for London’s Royal Albert Hall.
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Serata Forsythe
This program of three works by William Forsythe set to the music of James Blake has special meaning for La Scala Ballet.
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Dance Odyssey
Ushering in the ninth season of Dance at the Odyssey, which takes place January 8–February 16 at the Odyssey Theatre Ensemble and features a number of cutting-edge choreographers and world premieres, curator, producer and festival co-founder Barbara Müller-Wittmann adores her job.
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Hair's the Thing
Around this time of year, we can all use a little cheer. The early darkness, the cold, the state of the world alone can send one into a spiral.
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Sweet Treats
Will Tuckett’s new production of the “The Nutcracker” for the National Ballet of Japan serves up a holiday feast for the senses. Sweetly invigorating, it’s also a warm toddy for the soul. From start to finish, Tuckett’s “The Nutcracker” is truly a dream.
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Christmas Baddies
Between New York City Ballet’s “George Balanchine’s The Nutcracker®” and “The Magic Flute” at the Metropolitan Opera, it’s hard to compete with the Upper West Side’s holiday kid offerings.
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Strong Foundations
The Sun King not only invented ballet in its modern form but in 1713 also founded the oldest ballet academy in the world.
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A Landscape in Motion
The Choreographic Platform Austria (CPA) held in Salzburg from 20–22 November 2025, has become a biennial focal point for contemporary dance in Austria.
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Talent Time
It’s “Nutcracker” season at San Francisco Ballet—36 performances packed into three weeks—which means that the company is currently serving two distinct audiences.
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Teenage Angst and Institutions
Watching 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,...
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The Me of Today
The 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.
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America, F**K Yeah
After 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.
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Acosta Danza’s Choreographic Soup
An “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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