Art of Seduction
It’s a foregone conclusion that no matter how young, how beautiful, how alive one may be, death can come at any time.
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The Big World in Small Spaces
London has very little to do to convince the world of its artiness. It’s often given that eye-roll inducing title of a ‘world city;’ whatever your heart wishes to see will probably, at some point, make its way through London.
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Balletic Battlegrounds
The New York City Ballet’s Fall Fashion Gala was unusually tense this year, as the dancers refused to walk the red carpet or attend the post-performance dinner in protest of the standstill on their collective bargaining agreement.
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Listening to the World with Abigail Levine
On a Saturday afternoon in late September, the air feels electric in an upstairs rehearsal studio at Kestrels, in the Gowanus neighborhood of Brooklyn.
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Between Wave and Water
Alethea Pace's latest work, “between wave and water,” is a journey. Performers physically lead an audience through the Hunts Point neighborhood of the Bronx while examining the history of a local Enslaved African Burial Ground.
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Dancing in Circular Time
Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
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Devotion and Desire
Sir Kenneth MacMillan began his choreography for “Manon” with the pas de deux, and from this shining, central point spun outward. Building the story from its heart, almost as if from the inside out, the pas de deux reveals not only the emotional connection between the two dancers, but their place in the world.
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Creative Risk
If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
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Diamonds are Forever
It’s amusing to read in Pacific Northwest Ballet’s generally exceptional program notes that George Balanchine choreographed the triptych we now know as “Jewels” because he visited Van Cleef & Arpels and was struck by inspiration. I mean, perhaps visiting the jeweler did further tickle his imagination, but—PR stunt, anyone?
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Boundless Beauty
As I watch one after another pastel tutu clad ballerina bourrée into the arms of a white-tighted danseur, a melody not credited on the program floats through my brain. You know the one.
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Misty Copeland's Legacy
Misty Copeland’s upcoming retirement from American Ballet Theatre—where she made history as the first Black female principal dancer and subsequently shot to fame in the ballet world and beyond—means many things.
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Crossroads
Haneul Jung oscillates between the definition of the Korean word, man-il meaning “ten thousand days” and “what if.”
Continua a leggereFeatured Reads
Firebird Rising
Long 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.
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Rare Birds
It 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.
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Jack of Hearts
As 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.
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School Report
One 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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