World-class review of ballet and dance.
It may not be the height of fashion—a dull grey hoodie worn upside down and backwards—but it certainly served a higher purpose in, “These Are the Ones We Fell Among,” a one-hour duet seen last weekend at the UCLA Nimoy Theater. (Formerly the Crest Theatre, the reimagined movie hall named for the late actor, director, and philanthropist Leonard Nimoy, has a full slate of performances scheduled for its inaugural 2023-24 season.)
Continua a leggere
The elegant woman seated next to me at the Sunday matinee was excited to see Sara Mearns in “Slaughter on Tenth Avenue.” This was high praise, as she had fond memories of Suzanne Farrell and Arthur Mitchell in the piece—the ballet’s original 1968 cast.
Continua a leggere
There seems to be no clear organizing principle behind the programs at the yearly Fall for Dance festival at New York City Center.
FREE ARTICLE
The fall season at New York City Ballet, devoted to the works of Balanchine, has been full of débuts.
Continua a leggere
If you’ve ever laughed at the wrong moment, or at a joke that wasn’t funny, or to break the tension, then you will appreciate the theme of Shannon Gillen’s “Punch Line,” performed by the physical dance theater group Vim Vigor, that opened the Gibney performance 2023-24 season in September.
Continua a leggere
With a bang it begins, the explosion of a star, on stage at the Playhouse, Arts Centre. Bangarra Dance Theatre’s “Yuldea” has arrived on Wurundjeri Country (Melbourne) with a supernova to outshine entire galaxies, before heading to Bendigo, Djaara Country, for the final quivering leg and jutting arm of shifting gas and particles.
FREE ARTICLE
Danielle Rowe on her international career, choreography, family life, and how she became the first female artistic director of Oregon Ballet Theater.
FREE ARTICLE
Marking a centenary is always an occasion. And for the Martha Graham Dance Company, which was founded in 1926 and is the oldest dance troupe in America, the festivities have just begun.
Continua a leggere
New York City Center's 80th anniversary features a fall dance season worth celebrating.
Continua a leggere
From the moment the curtain rose, Queensland Ballet’s “Strictly Gershwin” dazzled.
FREE ARTICLE
In just 17 years, artistic director Christine Cox has taken BalletX from a summer pickup project to a formidable choreographic factory.
Continua a leggere
A virulent new strain of Covid is on the rise; democracy is in peril; and the war still rages on in Ukraine. But relief of the highest order came in the form of, “The Missing Mountain.”
Continua a leggereWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
Continua a leggereThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
Continua a leggere
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.
Continua a leggereAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
Continua a leggereAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
Continua a leggere