World-class review of ballet and dance.
There must be snow lightly dusting the shoulders. Mirlitons spin spritely and a striped, delectable flute. There must be magic and awe, in all its guises, and the reassurance that though the King Rat is nearby, crown askew, all is right in the world.
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Since 2013, the American Ballet Theatre has moved into the David H. Koch Theater for a Fall Season as soon as the New York City Ballet has moved out.
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“City Lights,” choreographed by Alastair Marriott for the National Ballet of Japan under artistic director Miyako Yoshida, made its world premiere this month in Tokyo, spinning the iconic 1931 Charles Chaplin movie of the same name to pure balletic gold.
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Musubi, the interconnectedness of all things across space and time, is a central concept in Japan’s ancient spiritual worldview, Shintoism.
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Talk about intensity! The American premiere of “Mirlitons” last weekend at the Nimoy as part of CAP UCLA’s season and presented by Dance Reflections by Van Cleef & Arpels, proved a powerful showcase for two multi-talented bodies: dancer, singer and performance artist François Chaignaud; and Aymeric Hainaux, visual artist, beatboxer, poet and dancer, the duo delivering a 70-minute treatise on stamina, art, sound and, yes, even a dollop of spirituality.
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Sacramento Ballet is a 72-year-old company in the capital city of California with 25 dancers, a strong history of dancing the works of George Balanchine, and a growing school and second company. As of six weeks ago, Sacramento Ballet also has a new artistic director: Tiit Helimets.
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With just two weeks penciled in at Lincoln Center’s David H. Koch Theatre, American Ballet Theatre’s fall season is a bright but brief standout in the fall dance calendar.
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Back in Hollywood’s “silent era”—that is, when there was actual sound accompanying the movies, just sound produced, as at a ballet, by musical instruments rather than live speech—the legal entity now known to lawyers and stickler cineastes as “Warner Bros.”
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Of all the places Juliet and Romeo could have fled to after Friar Laurence’s plan succeeded, they chose Paris. At least, this is how Ben Duke and Solène Weinachter imagined their fate in “Juliet and Romeo” (2018), now performed by Emily Terndrup and John Kendall in the title roles.
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London City Ballet, the erstwhile resident company of Sadler’s Wells, has just launched its third season since Christopher Marney resurrected the outfit in 2024, fashioning it into a small-scale touring troupe.
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Well, ring-a-ding-ding! With a show which feels far more cohesive than last year, those Strictly guys are back in the Fair City to pay homage to all things Sin City.
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While the world of ballet is considered a rarefied one, what happens when a dancer who trained at the prestigious Paris Opéra Ballet School abandons the art form—or rather integrates said terpsichorean skills—into a solo sans pointe shoes or ballet slippers, sporting, instead, sneakers? The answer can be found in Dimitri Chamblas’ stunning and thought-provoking work, “Ulysse Marion.”
Continua a leggereLong 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.
Continua a leggereIt 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.
Continua a leggereAs 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.
Continua a leggereOne 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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