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Genée
REVIEWS | Di Claudia Lawson

A Southern Genée

International ballet competitions have become a somewhat necessary evil in the ballet world. Brought to popular culture’s attention by movies such as First Position, they are, by all accounts, high impact events. Artistic directors from world-famous ballet companies line the judging panels to the watch ballet’s rising stars train, perform and compete. The competitors, usually between 15-18 years of age, are devoted individuals, likely type-A personalities, who have already put in years of training. But the exposure of such competitions is priceless. Best case, these young men and women will secure a scholarship to a company school or generous cash...

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Sugar Plum Fairy
REVIEWS | Di Rachel Howard

The Loveliest Nutcracker

For us ballet diehards, the annual “Nutcracker” marathon performs double duty, filling companies’ coffers for the “real” season, and giving rising talents a chance to step out as one of those myriad Sugar Plum Fairies in a mid-run matinee.

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REVIEWS | Di Victoria Looseleaf

Forward Momentum

There is no doubt that this year will go down as one of the strangest—and possibly saddest—in memory, at least politically speaking. And since the political is personal, with 2016 offering dashed dreams in terms of breaking the glass ceiling, the tragedy of Aleppo and the onslaught of so-called fake news, many of us, thankfully, continue to be consoled by art, with this writer particularly under dance’s spell for salvation.

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Pina Bausch Nelken
REVIEWS | Di Gracia Haby

Swing Time

I grew up watching Lucky and Penny spin about the dance floor. I knew their every line, and, more importantly, their every move, and their every move’s lines. Studied on a Beta video and later a VHS, their moving forms were so familiar to me. And perhaps through my repeated viewings I’d hoped for some sort of talent transference through the screen to me lying in Cobra on the floor, my chin resting in my hands. Fred Astaire and Ginger Rogers, as John ‘Lucky’ Garnett and Penelope ‘Penny’ Carrol, in George Stevens’ Swing Time (1936), were my idols in Primary...

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A Freudian take on Swan Lake
REVIEWS | Di Jade Larine

A Freudian take on Swan Lake

Nureyev’s take on “Swan Lake” (1984) is often said to be tricky, narcissist, untidy. It is all that, to some extent, but it’s also one of the most mature, intense versions of the crowd-pleaser that has gone free from emotional stirring around the world. In Nureyev’s version, the psychological depth, ingrained in the Prince’s psyche, is reminiscent of the choreographer’s dark side. And when you watch men waltzing holding hands like women traditionally do in Romantic ballets, it feels close to what could have been in Tchaikovsky’s imagination. Part of his sorrow came from his attraction to men, which he...

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A Hollow Spectacle
REVIEWS | Di Sara Veale

A Hollow Spectacle

F. Scott Fitzgerald’s Tender Is the Night charts the turbulent romance between a woman beleaguered by psychosis (Nicole) and a man fixated on saving her (Dick)—a relationship modelled on the author’s marriage to Zelda Sayre Fitzgerald. Drama erupts: there’s incest, alcoholism, corruptive wealth and more, much of it arising from Dick’s dual role as Nicole’s husband and her psychoanalyst. Factor in the heady setting—a glam expat resort in 1920s France —and it’s rich material for a stage production.

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A Note on Movement
REVIEWS | Di Erica Getto

A Note on Movement

“A dancer’s intelligence,” writes critic Edwin Denby in “A Note on Dance Intelligence” (1944), “isn’t shown by what intellectual allusions she can make in costume or pantomime, or, if she is a choreographer, in her subject matter. It is shown by how interesting to look at she can make her body the whole time she is on stage.” When dancers deliver “interesting” movements, he explains, they can create different visual and, in turn, emotional experiences for audiences.

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Dreamscapes
REVIEWS | Di Rachel Elderkin

Dreamscapes

“The Peony Pavilion,” a 16th-century play written by Tang Xianzu during the Ming Dynasty, is one of the most famous love stories of Chinese literature. Originally performed as a 20 hour-long Kunqu opera, the National Ballet of China have created a considerably condensed version that has become one of the key works in their repertoire.

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Kylián's Liturgy
REVIEWS | Di Jade Larine

Kylián's Liturgy

A newsworthy ballet director, Aurélie Dupont has remained quite vague about her artistic projects for the company since she took office, after Benjamin Millepied’s quick resignation.

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Love-struck Pirates
REVIEWS | Di Merli V. Guerra

Love-struck Pirates

Admirers of the classic ballets will welcome Ivan Liška’s restoration of Marius Petipa’s “Le Corsaire,” which made its North American premiere on Boston Ballet this past month at the Boston Opera House in Boston, MA. Boasting the drama of “Swan Lake” and the comedic wit of “Coppélia,” “Le Corsaire” takes to the stage with brilliant gusto, striking technique, and adventurous flair.

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Fabrication
REVIEWS | Di Gracia Haby

Fabrication

Any time between 3pm and 6pm. That was the deal. Any time within a window. And with freedom to explore. Come and go, as you please. The doors will be left open. Take photos, should you choose. Inhabit the space as you would a public area. Like a park, say. Be a living part of an assemblage. Move within the space. Walk through to the library. Squat beneath the window, recline on the slope, lean against the wall, perch on the ledge just inside the door: it’s up to you. Come, stay, and go, as you please, the invitation stood....

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Swans of La Scala
REVIEWS | Di Jade Larine

Swans of La Scala

When Ratmansky’s reconstruction of “Swan Lake” premiered in Zurich earlier this year, dancers were still taming a new vocabulary. Except for Viktorina Kapitonova’s sure-footed agility, the outcome was a bit messy on stage. It was hard to capture the essence of the new-old dance language that Russians could enjoy in 1895.

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Featured Reads

REVIEWS | Rachel Howard
Starry Nights

Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.

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