World-class review of ballet and dance.
The title of this dance interpretation of The Tempest highlights a notable departure from canon. In “We Caliban,” Shobana Jeyasingh imagines Shakespeare’s titular native in the collective sense—a tribe, a spirit and a place at once.
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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.
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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.
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When we think of countries that have shaped the world of dance our mind will often drift to the United States, Russia, or Germany. But what of Luxembourg?
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In times of rapid change, predicting the road ahead can seem to be a fool’s errand. But on a spring afternoon at Lincoln Center, I feel confident in this assertion: the future of dance is very bright.
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The programme of the Paris Opera Ballet School’s annual show for 2026 is shaped by a return to origins. Compared with recent editions, what stands out is its pronounced tendency to look backwards, less through canonical classics than through the recreation of an idealised past.
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Aterballetto, the main contemporary company in Italy (now a national choreographic centre), made a hit two years commissioning a new creation by Marcos Morau: “Notte Morricone” (Morricone Night). The Spanish director and choreographer has become one of the most in demand dance
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Growing up in British Columbia’s Okanagan region with two mothers, the Canadian choreographer Cameron Fraser-Monroe learned about the European side of his heritage, participating in Ukrainian folk dance from age six.
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March in Hong Kong concluded with an extraordinary week of flowers. In Victoria Park, the annual Hong Kong Flower Show was pitched.
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The work of the late Frederick Ashton is less often revived in the United States than it is in Great Britain.
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For its upcoming New York City Center season (April 23-26, 2026), Ballet Hispánico will present “Mujeres: Women in Motion,” programming that centers on Latina women who are shaping the language of dance.
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Misty Copeland makes an observation. “I see,” she says, looking into the audience packed with attendees in formalwear, “a lot of people who care about ballet.”
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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