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Heavenly Bodies
REVIEWS | Steve Sucato

Heavenly Bodies

Washington, D.C.’s 100° June weather wasn’t the only thing generating heat in the city. Chamber Dance Project’s 11th annual D.C. summer season production, “Red Angels,” produced its own scorching intensity as one of this summer’s early triumphs.

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Mikko Nissinen, Dancing into the Future
INTERVIEWS | Victoria Looseleaf

Mikko Nissinen, Dancing into the Future

After a successful dancing career with, among others, Dutch National Ballet, Finnish National Ballet, and finally San Francisco Ballet, where he was a principal dancer for a decade, Mikko Nissinen has proven himself a strategic, forward-looking and beloved artistic director of Boston Ballet.

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Jiří Kylián, Discipline and Freedom

Jiří Kylián, Discipline and Freedom

The world-renowned Czech choreographer and multimedia artist Jiří Kylián was recently honored with a retrospective festival at the Oslo opera house.

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Olga Smirnova, Leaps and Bounds
INTERVIEWS | Marina Harss

Olga Smirnova, Leaps and Bounds

Until March 2022, Olga Smirnova was one of the top dancers at the Bolshoi, performing roles in a large swathe of the repertory, everything from Odette in “Swan Lake” to Marguerite Gauthier in John Neumeier’s “Lady of the Camellias” and Bianca in Jean-Christophe Maillot’s “Taming of the Shrew.”

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Welcome to Wonderland
REVIEWS | Kris Kosaka

Welcome to Wonderland

A delightful production, served with verve: the National Ballet of Japan’s recent performance of “Alice in Wonderland” was an unabashed celebration of imagination, deftly showcasing all the wacky wonder of Christopher Wheeldon’s modern ballet classic.

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L.A. Anthem
REVIEWS | Victoria Looseleaf

L.A. Anthem

Casual perfection. Studied grace. Spontaneous elegance. These are but a few of the words that came to mind when this writer observed nine gorgeous dancers from LA Dance Project and four students from the Trudi Zipper Dance Institute at the Colburn School, cavorting around the courtyard and grounds of the Wallis Annenberg Center for the Performing Arts last Friday in Janie Taylor’s “Anthem.”

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Count Down
REVIEWS | Victoria Looseleaf

Count Down

So, shoe me! Seriously, there have been countless iterations of the ballet “Cinderella,” all pivoting around footwear, whether pointe, glass or golden slippers. Indeed, this particular terpsichorean fairytale can be traced back to the early nineteenth century, but it wasn’t until Prokofiev finished his brooding Romantic score in 1944 that choreographers, including Frederick Ashton, Rudolf Nureyev and Alexei Ratmansky, began telling the tale of fairy godmothers, crystal coaches and a rags-to-riches heroine.

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Keeping the Faith

Keeping the Faith

There’s a small moment in Rena Butler’s new “Cracks” that I think only could have become possible at Pacific Northwest Ballet, which commissioned it.

Performance

Pacific Northwest Ballet: Director's Choice, works by Rena Butler and Kiyon Ross

Place

Digital stream of performance in McCaw Hall, Seattle, captured May 30, 2025

Words

Rachel Howard

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Team Effort
REVIEWS | Faye Arthurs

Team Effort

This year marked the 60th anniversary of the School of American Ballet’s annual Workshop Performances. The programming was unusually democratic this year.

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Words of Meaning
REVIEWS | Karen Hildebrand

Words of Meaning

The title of Catherine Tharin’s latest production, “In the Wake of Yes,” is a reference to “Molly Bloom’s Soliloquy,” an inner monologue on womanhood and sexuality, from James Joyce’s Ulysses. Tharin matches the tone of this work as she picks up on an exuberant string of “yeses” from that text. Her witty series of dances explores romance and its complications. At the center of the show is a film by Lora Robertson that lifts the dancers out of the tiny East Village stage and transports them (and us) to scenes of contemporary New York City. Tharin, who danced with the...

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Character Act
REVIEWS | Rebecca Deczynski

Character Act

Through its newly opened program, “Other Dances,” Dutch National Ballet kicks off the summer with a slate of lighthearted fare that varies in precise approach but altogether evokes an effervescent mood.

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Requiem for Humanity

Requiem for Humanity

Taking the historian’s long view, the message within “Last and First Men,” that “the whole duration of humanity, its evolution, and many successive species, is but a flash in the...

Performance

Neon Dance: “Last and First Men” by Jóhann Jóhannsson and Yair Elazar Glotman, narration by Tilda Swinton

Place

Melbourne Recital Centre, Victoria, Australia, June 7, 2025

Words

Gracia Haby

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For the Muses
REVIEWS | Victoria Looseleaf

For the Muses

While the ghosts of, among others, Judy Garland, Jack Benny and the cast of “All in the Family” might be haunting Television City’s soundstage 33 in Los Angeles, the dancers of American Contemporary Ballet (ACB), took metaphoric flight on Thursday when they performed the world premiere of, “The Euterpides.”

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Pure Moods
REVIEWS | Rebecca Deczynski

Pure Moods

“Into the Hairy”—the 45-minute ballet by choreographer Sharon Eyal and her creative collaborator Gai Behar—sets the tone immediately. Dancers dressed in arachnid-like unitards have a severe look, with black eye makeup that drips intensely down their cheeks, gothic and dramatic.

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All Together Now
REVIEWS | Rebecca Deczynski

All Together Now

Transformation is inevitable—and necessary in order to persist. That’s a theme that runs through two new works staged by Rotterdam’s Scapino Ballet in “Origin,” a program focused entirely on emerging choreographic talent. 

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A New Recipe
REVIEWS | Karen Hildebrand

A New Recipe

An apron-clad Marjani Forté-Saunders, spotlit on the steps of the St. Mark’s Church sanctuary, rocks from one bare foot to the other while swinging a brown paper bag, presumably filled with groceries.

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Partners in Sublime

Partners in Sublime

For the most dynamic performers, artistry is an embodied quality. Whether through natural aptitude or diligent training—or most often, a combination of the two—the performer transcends the physical, choreographed act...

Performance

“That’s How We Met” by Skylar Brandt and Vladimir Rumyantsev

Place

Merkin Hall, Kaufman Music Center, New York, NY, June 2, 2025

Words

Rebecca Deczynski 

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