Passion and Personality
In just 17 years, artistic director Christine Cox has taken BalletX from a summer pickup project to a formidable choreographic factory.
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Mountain High
A virulent new strain of Covid is on the rise; democracy is in peril; and the war still rages on in Ukraine. But relief of the highest order came in the form of, “The Missing Mountain.”
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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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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, and it pulls no punches.
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Sparkles, Scraps and Spandex
Overheard after the curtain drop on “Theme and Variations,” the opener of English National Ballet’s latest mixed bill: “Well, it was very Balanchine!”
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Dance of Death
Smaïl Kanouté is a French-Malian graphic designer, dancer, and choreographer based in Paris, and the founder of a Compagnie Vivons, which combines visual art, film, and live performance.
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Dancing over Ashes
Rosalind Crisp on DIRt (Dance In Regional disasTer zones) and how dance and collaborative arts practice might respond to the unfolding extinction crisis.
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Dance to the Letter
Looking to the alphabet, many letters have been used to describe a swan, from the S of their long necks to the letters V and J to describe the overhead appearance of the flock echelons of them in flight.
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The Walking Dance
The past week has been one of celebration at New York City Ballet. The company is marking seventy-five years of existence with a season devoted to the ballets of its founding choreographer, George Balanchine.
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Show and Tell
The Guggenheim Museum’s beloved behind-the-scenes New York dance series, Works & Process, was founded in 1984 by philanthropist Mary Sharp Cronson.
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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.
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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.
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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.
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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.
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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.
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