Sweet Fields
According to artistic director Peter Boal’s welcome letter for Pacific Northwest Ballet’s fifth season program, the most popular mixed rep slates at PNB feature works by Crystal Pite or Twyla Tharp.
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Modern Dance Hold’em
Lassoing is a surprising through-line for a Martha Graham Dance Company performance. The theme steps generally tend towards the child-birthing variety: contractions and deep squats.
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Detail Oriented
As a dance viewer, it’s easy to get swept up in the grand movements in a piece, glossing over the finer details.
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From Street to Stage
Hubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
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Acosta returns to America
The legendary Cuban dancer Carlos Acosta trained relentlessly to come out of retirement last year for a performance of classical works in celebration of his 50th birthday at the Royal Ballet, where he spent most of his professional career.
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A Dancer's Story
The Dance Theater of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past.
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Musically Inclined
Despite the fact that dance and music are often regarded as inextricably linked, it remains astonishing to experience the work of a choreographer who channels the score particularly well—or a group of dancers who embody it especially organically. Repertory Dance Theatre’s 58th season closer, “Gamut,” happened to have both.
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Audacity of Dance
If there’s anybody who embodies ‘rizz’—charisma in today’s coolspeak—it’s dancer, choreographer, and filmmaker Benjamin Millepied.
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Dance Downtown
One might easily mistake the prevailing mood as light-hearted, heading into intermission after two premieres by Brenda Way and Kimi Okada for ODC/Dance’s annual Dance Downtown season. Maybe this is just what we need to counter world events, you may think. But there is much more to consider beneath the high production values of this beautifully wrought program. Okada, for instance, folds a dark message into her cartoon inspired “Inkwell.” And KT Nelson’s “Dead Reckoning” from 2015 reminds us the outlook for climate change looms ever large.
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After Trisha Brown
Dance scholars have been remarking on the great Trisha Brown nearly from the day she first stepped into Robert Dunn’s class—the genesis of Judson Dance Theater—in the 1960s.
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The Beat Goes On
The prolific drummer Max Roach would have been 100 years old on January 10, and all around the world, admirers have been celebrating.
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No Fairy Tale
Generally, a production of “Swan Lake” is only as good as its Odette and Odile, symbolic of the duality of nature. So, it’s wonderful to see Sophie Martin back, dancing one of her signature roles. She's predictably brilliant.
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Firebird Rising
Long 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.
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Rare Birds
It 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.
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Jack of Hearts
As 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.
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School Report
One 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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