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
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Tamara Rojo’s ambitious “Raymonda” was the last thing she did at English National Ballet before assuming the directorship in San Francisco three years ago, so it was natural that she would want to bring it here early in her tenure.
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With each dance season’s new ballets, some become memorable with audiences and critics for their artistry and emotional connection, fewer reveal themselves as hits, and even fewer have the potential to become box office record breakers. Tulsa Ballet's new “Alice in Wonderland” is the rare gem that does all three.
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Dreadlocks are not the first thing that come to mind, looking at UK artist Nicola Turner’s fiber sculpture currently installed at Carvalho Park gallery in East Williamsburg. But I hesitate to open a review with a vision of the poop emoji.
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Inspired by breaking, neo-classical ballet and dance theater, Rubberband, founded in Montreal in 2002 by Victor Quijada, presented two works at BroadStage over the weekend in what was seen as a homecoming of sorts for Quijada.
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The Batsheva Dance Company returned to the BAM Opera House this week bringing their latest evening length work, “Momo.” This was the ninth Batsheva production that BAM has presented since...
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Today I have the immense privilege of speaking with Bangarra Dance Theatre’s James Boyd. James is a proud Aboriginal man with connections to the Kunja and Muruwari people of southwest Queensland. Born on Wiradjuri country in Orange, as a little boy, James wasn't quick to use his words, and had delayed speech. James's mum and dad then began to notice other things—James kept getting bruises. At just five years of age, James was diagnosed with Leukemia. In this most incredible episode, James shares his journey through cancer, the lows of hospital life, and also the highs when James was introduced...
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Houston Ballet has announced its vibrant programme for 2025-2026, with luminary contemporary ballet choreographer, Alice Topp, formerly of the Australian Ballet and the Royal New Zealand Ballet as a headliner.
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Cold, immovable violence is rooted at the heart of Johan Inger’s “Carmen.” Drawing from Prosper Mérimée’s 1845 novella, Inger’s timeless version of “Carmen” revels, as it was originally written, Carmen’s death, at the hands of Don José, as chillingly intentional.
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When Camille A. Brown appears out of the dark upstage and into the light, it prompts an unironic version of the question: “To what do I owe this honor?”
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As Hollywood geared up to decorate film performers in front of the world at the annual Oscars ceremony, New York City Ballet principal dancers Mira Nadon and Peter Walker laid down...
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The boulevard of London plane trees has been wrapped in Yayoi Kusama’s white-on-pink dots, the only southern hemisphere biodiversity capable of flourishing in these particular northern hemisphere trees.
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A Midsummer Night’s Dream” is one of William Shakespeare’s best-known comedies. Filled with fairies, mischief, and moments of mistaken identity, it's a mischievous tale that delights with its chaos and humor.
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The touring Dance Reflections by Van Cleef & Arpels Festival is about to land in London, March 12- April 8, returning to the location of its first edition in 2022.
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The Sarasota Ballet is not only an impressive troupe in its own right, with a repertory that elevates it to the top rank of America’s regional ballet companies. It also has the enlightened policy of inviting outside companies to perform as part of its yearly seasons.
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From the moment Darrell Jones steps onto the platform erected as a stage in an empty gallery space of MoMa PS1, he’s constantly in motion. Barefoot, in t-shirt and workout...
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Last fall, designer Batsheva Hay started her New York Fashion Week runway show with an unconventional opener. Lori Belilove, the artistic director of Lori Belilove & the Isadora Duncan Dance Company, performed Isadora Duncan’s solo “The Revolutionary.”
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Joffrey Ballet’s latest mixed bill programme, “Golden Hour,” unfurled into the still dark and snowy evening streets of Chicago in mid-February (‘Danger Ice Falling’ signs littering the pavements). This diverse mix of works contained two world premieres, including a co-production with Oregon Ballet Theatre titled “Princess and the Pea.”
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Nijinsky lives! Or at least it seemed that way in a commanding performance by the five dancers of “Bodysuit,” an extraordinary work created by the eternally intriguing Sharon Eyal, purveyor of Gaga, and British artist Georgy Rouy, with Eyal’s husband, Gai Behar, credited as co-creator.
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In 1936, Martha Graham was invited by the Nazi-controlled German Ministry of Culture to perform at the Olympic Games in Berlin. Courageously, Graham refused: “I would find it impossible to dance in Germany at the present time. So many artists whom I respect and admire have been persecuted, have been deprived of the right to work for ridiculous and unsatisfactory reasons, that I should consider it impossible to identify myself, by accepting the invitation, with the regime that has made such things possible.”
FREE ARTICLE
To Vaslaz Nijinsky, the circle was the embodiment of a complete, perfect movement from which everything in life could be based. The intersection of two circles form an almond-like shape,...
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