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The Piano
REVIEWS | Par Madelyn Coupe

Edge of a Wild Sea

The next episode from Royal New Zealand Ballet’s “Live in Your Living Room” series diverges from their previous content. Up until now, the company has broadcast filmed productions such as “Romeo and Juliet,” or dress rehearsal recordings, “Cinderella” from their archives. This time, however, they decided to share something completely different. Instead of presenting a finished product—a performance with everything perfectly rehearsed and every detail finalised—RNZB chose to broadcast a documentary that focuses upon the rehearsal process. This episode shows how complicated and turbulent the creative process can be.

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A New Firebird
REVIEWS | Par Oksana Khadarina

A New Firebird

As the coronavirus pandemic brought live performances to a halt, many ballet companies around the world turned to online platforms to present their work and to engage with their audiences, bringing dance performances straight into our living rooms. In fact, these trying times created an unprecedented opportunity for people all over the world to enjoy a wealth of ballet productions, new and old, which the majority of viewers would never be able to see otherwise.

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Notes from Quarantine
FEATURES | Par Faye Arthurs

Notes from Quarantine

Like everyone else in the world, I’ve been trying to stay healthy, yet also connected to my work and passions during this abysmal pandemic. It’s a conundrum: I’m a dance critic now, but there are no live dance shows to review. This problem is small beans, of course, in the grand scheme of things. People are dying. People are starving. Life as we knew it has been irrevocably altered. The truly brave and selfless work of all those deemed essential is both humbling and awe-inspiring; I cannot thank these people enough for their intrepid commitment to the human race. But...

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The River
FEATURES | Par Josephine Minhinnett

The River

For dancers, moving beyond our comfort zones—the places we know to be familiar and safe—often involve pushing the physical limits of the body, training to extremes to create a new normal. But sometimes going beyond comfort zones can also be an inward action, having the bravery to be vulnerable and let go, trusting the body to move towards its places of intuition and feeling. This is what the Dublin-based Flora Fauna Project has been encouraging everyday people from their community to do.

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Desert Island Dances
FEATURES | Par Caroline Shadle

Desert Island Dances

Hua Hsu wrote in March for the New Yorker a quarantine-inspired piece about the BBC radio show “Desert Island Discs.” The program, which began during World War II as “part of the BBC’s broader effort to make life during wartime slightly more bearable” as Hsu puts it, presents interviews with cultural icons from various fields who are each asked to prepare a list of eight tracks that they would bring with them were they to be stranded on a desert island. Hsu uses “Desert Island Discs” to further his own investigation of the role of music in our lives and...

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Royal New Zealand Ballet
REVIEWS | Par Madelyn Coupe

Violent Delights, Violent Ends

When it comes to restaging canonical works, the process is extraordinarily complex. A myriad of difficulties can emerge depending on how much or how little a new work differs from the original ballet. Every aspect of the restaging—from form to characterisation and plot—does not exist in isolation; the theatrical elements are irrevocably tied to and haunted by the canonical predecessor. How a choreographer, then, approaches a restaging is uniquely singular them and their creative practice.

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Will to Power
INTERVIEWS | Par Claudia Lawson

Will to Power

Benedicte Bemet is one of those dancers you never forget. From even the junior ranks, she has been a crowd favourite, combining technical prowess while radiating her sheer love of dance from the stage. Her trajectory to principal dancer at the Australian Ballet seemed guaranteed. However, it hasn’t been all smooth sailing.

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[Web]Site-Specific
FEATURES | Par Rachel Stone

[Web]Site-Specific

The crowd is the first thing I notice in the Trisha Brown Dance Company’s 2016 performance of “Figure Eights” as part of a performance at Seattle Art Museum. The audience clusters behind the row of six dancers, who are all dressed in casual white shirts and loose, white pants. The audience claps and takes pictures, sits stage-side, heads in their hands, on their phones.

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Love is Not Blind
REVIEWS | Par Gracia Haby

Love is Not Blind

Memory is not linear. Have I told you this before? I saw this production of see Graeme Murphy’s “Romeo & Juliet,” filmed on Wednesday 21st September, 2011 at Arts Centre Melbourne with Orchestra Victoria, before I wrote my first piece for Fjord Review.

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For the Fallen
REVIEWS | Par Madelyn Coupe

For the Fallen

The 25th of April is an important day for Australia and New Zealand—it is Anzac Day. It is a day where two countries come together and acknowledge the suffering that our servicemen and women have endured. This year, however, Anzac Day was quite different. There were not the usual migrations, no congregations and even the shores of Gallipoli—normally filled with thousands of visitors—were bare. Instead, people decided to commemorate at home. They lined their driveways at dawn and waited for the Reveille to play through the radio.

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Mischief at Midnight
REVIEWS | Par Madelyn Coupe

Mischief at Midnight

There is something inherently mysterious about the midnight hour; it has an otherworldly power that can be both alluring yet also sinister. Curses can be sworn, spells can be broken, and even the most beautiful things (including carriages) can be returned to mundane, everyday objects. Midnight is cloaked in mystery because it is a liminal space—a threshold of time. It signifies the moment when one day turns into the next, and it is within this transition that it holds its power. As time suspends between the days, so too does rational thought. Because midnight is the hour that gives voice...

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Lived Experience
REVIEWS | Par Lorna Irvine

Lived Experience

Glasgow's Barrowland Ballet have long explored the nuances of human interaction with style, grace and humour. The company often work with those from different backgrounds and age groups, and their own professional dancers are absolutely superb. Whiteout is definitely one of artistic director Natasha Gilmore's most intimate projects, as she was inspired by creating a humane piece which speaks to her own inter-racial marriage. Speaking in an interview in The List in 2015, she said to writer Kelly Apter, “This is one of those pieces I felt compelled to make . . . So I started to identify the common...

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Featured Reads

REVIEWS | Rachel Howard
Starry Nights

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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