World-class review of ballet and dance.
Move over, Matthew Bourne, there is a new voice in theatrical dance plays. Choreographer Penny Saunders' bespoke production of “Sherlock,” performed by Grand Rapids Ballet, was not only a triumph in bringing literature’s favorite super sleuth to the stage in dance form, but is an early contender as one of the 2025-26 dance season’s very best.
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On the night of Halloween in South Bend, Indiana, I weave through costumed partygoers as I make my way to a special double bill at the University of Notre Dame’s DeBartolo Performing Arts Center.
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This fall, Japan Society is celebrating the centenary of legendary Japanese post-war author Yukio Mishima (1925-1970) with a series of works in theater, film, and dance inspired by his oeuvre.
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Powerhouse: International, the newly launched arts festival in Gowanus, Brooklyn, continued its fall offerings with the multidisciplinary work “Fampitaha, fampita, fampitàna,” co-presented with L’Alliance New York’s Crossing the Line Festival.
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In an animation that is woven through the performances of traditional dances in Indigenous Enterprise’s “Still Here,” a young boy watches a video of powwow musicians and dancers with his grandfather on Youtube.
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It was apropos that I attended choreographer Wanjiru Kamuyu’s latest work, “Fragmented Shadows,” just before Halloween.
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Making its long anticipated debut at Sadler’s Wells, “Figures in Extinction" is perhaps the brightest new feather in Nederland Dans Theater’s cap.
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The final program of American Ballet Theatre’s fall season, titled “Innovations Past and Present,” featured the world premiere of Juliano Nunes “Have We Met!?” as well as two company gems: Alexei Ratmansky’s “Serenade after Plato’s Symposium” and George Balanchine’s “Theme and Variations.”
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Miriam Miller steps into the center and raises her arm with deliberation, pressing her palm upward to the vaulted Gothic ceiling of the cathedral.
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In a series called “Just Dance” on Nowness—a site I sometimes visit to see what’s up in the world of “genre busting” dance films that make it onto this stylized platform—I sometimes find little gems that quietly rock my world.
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Back in October, New York City Ballet got a new cowboy. His arrival occurred in the final section of George Balanchine’s “Western Symphony.”
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When Richard Move enters from stage left, their presence is already monumental. In a long-sleeved gown, a wig swept in a dramatic topnot, and their eyes lined in striking swoops, the artist presents themself in the likeness of Martha Graham—though standing at 6’4, they have more than a foot on the late modern dance pioneer.
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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