World-class review of ballet and dance.
"Fjord Review serves as an indispensable resource for the world of dance. Contributors offer well written and researched comment on what everyone's talking about - and what we might have missed. Unexpected humor and honest candor can be found in every article, and the photography and art direction elevate dance to the place of reverence and relevance it deserves. Bravo, Fjord."
Peter Boal
Artistic Director, Pacific Northwest Ballet
Discover insightful conversations with prominent figures in the dance world, essays on ballet history and performances, reviews of leading ballet companies, and stunning dance photography in our latest issue.
184 pages. 7.25″ x 10″Description
Subscribe to receive unlimited digital access across your devices.
What’s in my subscription?
A Digital subscription gives you unlimited access to all our online content across multiple devices. A Print + Digital subscription allows you unlimited access to online content, plus two print magazines annually.
When will I receive my magazines?
We publish two magazines per year, spring and fall editions. Subscribers are the first to receive their magazines, before single copies go on sale.
Returns
Returns are not offered on subscriptions, or on single copy sales.
What if I don’t receive my magazine?
Magazines are sent media mail or by regular mail and are not tracked unless selected in shipping. Please ensure that you have given us the correct address when you subscribe, or purchase the magazine. Please allow two weeks before contacting us regarding missing magazines.
Where do you ship?
We ship internationally, and regular postage is included for Print + Digital subscriptions only.
New Yorkers who don’t have a fireplace during this deep January freeze can head to the Joyce Theater to see Ronald K. Brown’s Evidence A Dance Company, where the russet backdrops, rolling hips, and reggae beats give off plenty of warmth.
Plus
Japan Society presented its 20th showcase of contemporary dance with works from emerging choreographers in East Asia over a mid-January weekend.
Plus
In a four-day span of early January I saw: Monica Bill Barnes wrestle a giant beach ball at Playwrights Horizons; Malcolm-x Betts and Nile Harris shoot blanks into the rafters of the Chocolate Factory in honor of Judith Jamison’s spirit; Symara Sarai run in and out of a swirling lasso at New York Live Arts Studios; and Angie Pittman dart across a shallow stage, in character as a vampire, cape flying, at BAM Fisher Hillman Studio in a shared bill with Kyle Marshall Choreography. In short, it was APAP season.*
Plus
Sara Veale’s new book Wild Grace: The Untamed Women of Modern Dance (Faber & Faber) examines the lives of nine boldly subversive dancemakers over nearly a century, starting with Isadora Duncan and ending with Pearl Lang. Along the way, it provides a pared but potent mini-history on the emergence of women’s rights.
Plus
No matter the theme, an evening with David Dorfman Dance is likely to uplift. The gregarious choreographer has a habit of engaging with the audience pre and/or post show with...
Performance
Place
Words
One of the first dances I reviewed for Fjord was Jack Ferver’s hilarious yet penetrating “Everything is Imaginable” at New York Live Arts. It featured a series of solos in which accomplished dancers from different genres portrayed their childhood idols.
Plus
There’s a steady unity of vision in Tetsuya Kumakawa’s production of “Cinderella,” first staged by K-Ballet Tokyo in 2012.
Plus
There’s a distinct warrior theme to the evening shared by Angie Pittman and Kyle Marshall, though the two choreographers are working in very different styles and tone.
Plus
It’s not often these days that aspiring dancers and smaller companies can enjoy the luxury of state-of-the-art facilities to develop their practice and put on a show, especially in a capital city.
Plus
Today I have the privilege of speaking with the divine Juliet Doherty. Juliet was born in Albuquerque, New Mexico, which is slightly more Breaking Bad than “Swan Lake,” but Juliet's...
FREE ARTICLE
One of the gems of New York City’s dance landscape is the Graham Studio Series, a programming cycle that offers behind-the-scenes interaction with the work of the Graham Company in their studio space. In early January, the series presented a Graham Deconstructed event exploring Martha Graham’s modernist masterwork “Cave of the Heart.”
Plus
Repertory Dance Theatre’s “Emerge” had the feel of a dance studio recital, for better and for worse. The annual showcase, designed to emphasize the robust dance community in Utah—which does, by the way, exist—had a warm, familiar feel, but lacked sufficient pedigree for a company of RDT’s caliber.
Plus
In today's episode we speak with superstar Dr. Brandi Cole. You may have seen Dr. Brandi on your screens as she worked to keep the Matilda's on the field during the Women's World Cup in 2023, and then at the Paris Olympics.
FREE ARTICLE
The Martha Graham Dance Company performed two of its Greek myth-themed works at Philadelphia’s Suzanne Roberts Theatre over the weekend.
Plus
Although Arlene Croce was not a trained dancer (her afterschool arts training in childhood was as a painter) she took dancing seriously as both an occasion for pleasure and a...
Plus
Talking Pointes, the podcast that shines a light on life in dance and the performing arts, is back for a fourth season.
FREE ARTICLE
The Ragamala Dance Company returned to New York’s Joyce Theater with a visual feast for the eyes and stimulating food for thought with their new production “Children of Dharma.”
Plus
For me, an undeniable highlight of Christmas 2024 was watching Wallace and Gromit: Vengeance Most Fowl with my family.
Plus
My favorite books of 2024 offer dance history from the artist’s point of view. Perhaps there is nothing too unusual about this, and yet, something about this trend feels special as we step with trepidation into the first days of 2025.
FREE ARTICLE
Lloyd Knight, Principal Dancer entering his 20th season with the Martha Graham Dance Company, debuts his first one-man show as part of Works & Process at the Guggenheim on January 13th.
Plus
