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Mother Tongue
REVIEWS | Emily May

Mother Tongue

A colourful, decorative rug is positioned centre stage. “It lasted pretty well,” a disembodied voice comments through the speaker system, explaining how it was chosen for its pattern, which is ideal for concealing dirt.

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Romeo & Juliet Redux
REVIEWS | Victoria Looseleaf

Romeo & Juliet Redux

This is decidedly not your mother’s “Romeo and Juliet.” Indeed, Benjamin Millepied’s “Romeo & Juliet Suite,” choreographed for the superb members of his L.A. Dance Project, featured a female duo (Daphne Fernberger and Nayomi Van Brunt) in the titular roles at the Wallis Annenberg Center for the Performing Arts on Thursday. 

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A Mystical Evening
REVIEWS | Merilyn Jackson

A Mystical Evening

This year’s Biennale Danza Venezia Silver Lion award went to Zurich-based choreographer Trajal Harrell. A house director at the Schauspielhaus Zurich, and the founding director of the Schauspielhaus Zurich Dance Ensemble, he brought the Ensemble to FringeArts Festival for the Philadelphia premiere of his 2022 “The Köln Concert” last month. 

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Resistance
REVIEWS | Lorna Irvine

Resistance

What's your poison? Tom of Finland, or Boy George? Madonna, or Marilyn? Top, or bottom? There have been so many recent dramas of late, focussing on eighties' queer culture: The Line of Beauty, Pride, Love Song to Lavender Menace, and It's A Sin, among others.

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Ladies’ Night
REVIEWS | Faye Arthurs

Ladies’ Night

The New York City Ballet’s 2024 Fall Fashion Gala was once again a smashing fundraising success, pulling in 3.2 million dollars and packing the house with slew of well-dressed celebrities and socialites.

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Imperfect Beauty
REVIEWS | Rachel Howard

Imperfect Beauty

Jessica Lang’s “Black Wave,” her first creation as Pacific Northwest Ballet’s new resident choreographer, is an elusive allegory wrapped inside a metaphor wrapped inside a dream. Rarely have I so wanted to ask a choreographer what she intended.

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Balanchine Ascendant
REVIEWS | Faye Arthurs

Balanchine Ascendant

To celebrate the 90th anniversary of the School of American Ballet, advanced students performed Balanchine’s “Serenade” (also 90 this year) on a special, one-off New York City Ballet program. 

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Hidden Worlds
REVIEWS | Gracia Haby

Hidden Worlds

“Circle Electric” makes a magnifying glass of the stage, and places different dancers in different configurations in the spotlight with the intention of observing them and thereupon making inquiries. 

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