People, Places, and Things
Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
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Dancing the Gods
The annual Dancing the Gods Festival of Indian Dance celebrated its fourteenth and final year with a generous finale May 16-18. This final event extended for three evenings instead of the usual two.
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Marriage Rhyme
Something old, something new, something borrowed, and something “Blue.” The premise of Australasian Dance Collective’s fortieth anniversary celebration stems from the traditional divisions of time.
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Heaven and Earth
Shadows, dark matter and the enigmas of consciousness—the ideas behind Crystal Pite’s “Frontier” are timely and timeless at once.
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Let the Dancers Speak
Ballet West’s Works from Within program gave company dancers a chance to speak. This year’s edition featured five works: Katlyn Addison’s “Andromeda,” Nicole Fannéy’s “Lingering Echoes,” Jazz Khai Bynum’s “With Feeling,” Vinicius Lima’s “Elis,” and Emily Adams’ “Mass Hysterical.”
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New York Knickknacks
For the third year in a row, I attended the Spring is Blooming festival on Mother’s Day. Thanks to Dance Reflections by Van Cleef & Arpels and artist Alexandre Benjamin Navet, in place of crowded, overpriced brunches, I now look forward to a public dance spectacle, bougie swag, and the delightful camouflaging of the concrete jungles of midtown with pop-art flowers, pastel gazebos, and lazy bench swings.
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Changing of the Seasons
Pattern and symmetry are the modus operandi of choreographer Thierry Malandain’s “Les Saisons” (2023), performed by his Malandain Ballet Biarritz contemporary ballet company to close out the Pittsburgh Dance Council’s 2024-2025 season.
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Here Comes the Sun
Talk about a Terpsichorean/Euterpean acid-like trip! Brooklyn-based Mark Morris Dance Group, currently celebrating its 45th anniversary, burst onto the stage of the Wallis Annenberg Center for the Performing Arts last Friday in their Carnaby Street-type costumes that popped with color and pizazz, all the while brilliantly bouncing, wildly whirling, and lusciously leaping to live music.
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A Danced Rituel
When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
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New School
San Francisco’s War Memorial Opera House is a grand, gracious theater, so it was a big deal to see the San Francisco Ballet School hold its end-of-year performances in that hall for the first time since at least 1985.
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The Resistance of Love
At its heart, “Sylvia” is a ballet about the resistance to love—a theme that continues to resonate deeply, as the human spirit often recoils from love, driven by fear, pride, a need for control, or the weight of duties and moral constraints.
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Emerging Voices at the Paris Opera Ballet
Since the 1970s, the Paris Opera Ballet has cultivated a distinctive tradition of nurturing its own dancers as emerging choreographers.
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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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