Strong Foundations
The Sun King not only invented ballet in its modern form but in 1713 also founded the oldest ballet academy in the world.
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A Landscape in Motion
The Choreographic Platform Austria (CPA) held in Salzburg from 20–22 November 2025, has become a biennial focal point for contemporary dance in Austria.
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Talent Time
It’s “Nutcracker” season at San Francisco Ballet—36 performances packed into three weeks—which means that the company is currently serving two distinct audiences.
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‘Tis the Seasons
Last week I caught up with choreographer Pam Tanowitz and Opera Philadelphia’s current general director and president, countertenor Anthony Roth Costanzo to talk about “The Seasons,” the company’s latest production premiering at the Kimmel Center’s 600-plus seat Perelman Theater on December 19.
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Icons of Paris
If Notre-Dame remains one of the enduring symbols of Paris, standing at the city’s heart in all its beauty, much of the credit belongs to Victor Hugo.
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Reach for the Stars
When dancer and choreographer Marla Phelan was a kid, she wanted to be an astronaut. “I always loved science and astronomy,” Phelan said.
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Float like a Butterfly
Sans tutu or pointe shoes, New York Ballet principal Sara Mearns delivered a knock-out punch in her 20-minute solo, “Zebra.”
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Mishima’s Muse
Japan Society’s Yukio Mishima centennial series culminated with “Mishima’s Muse – Noh Theater,” which was actually three programs of traditional noh works that Japanese author Yukio Mishima adapted into modern plays.
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Critics' Picks 2025
Throughout the year, our critics attend hundreds of dance performances, whether onsite, outdoors, or on the proscenium stage, around the world.
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Take Me to Church
On December 11th, the Alvin Ailey American Dance Theater presented two premieres and two dances that had premiered just a week prior.
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In Contrasting Light
The “Contrastes” evening is one of the Paris Opéra Ballet’s increasingly frequent ventures into non-classical choreographic territory.
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Robot Love
I’m in the audience of the Pit to watch Kaori Ito’s solo performance, “Robot, l'amour éternel.” It’s in the blackbox performing space at the New National Theatre Tokyo, intimate and close. The stage is an open, raised platform, gauzy white fabric covering the floor.
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Teenage Angst and Institutions
Watching 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,...
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The Me of Today
The choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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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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America, F**K Yeah
After 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.
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Acosta Danza’s Choreographic Soup
An “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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