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Brush up Your Dante
REVIEWS | Eva S. Chou

Brush up Your Dante

For four weeks in May, Paris Opera Ballet ran contrasting programs in its two homes: at the smaller Garnier, the POB premiere of Wayne McGregor’s “The Dante Project” and, at the Bastille, a program of three Maurice Béjart works from the 1970s.

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Nobody
REVIEWS | Róisín O'Brien

Nobody

With “Nobody” from Motionhouse, it’s the second half that’s really worth watching; something gets cleared away, and the show focuses in on the performers themselves.

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Deep River
REVIEWS | Victoria Looseleaf

Deep River

In other words, “Deep River” was signature King: elongated, oblique moves, accentuated with filigreed arms, and deft and articulated footwork.

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SAB Resets
REVIEWS | Faye Arthurs

SAB Resets

Last year’s School of American Ballet Workshop performances marked two milestones: Suki Schorer’s 50th anniversary as a teacher, and Kay Mazzo’s retirement from the Chair of Faculty position after 40 years.

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Beauty to my Mind
REVIEWS | Karen Hildebrand

Beauty to my Mind

The elegance of New York’s City Center theater is a good look for Ballet Hispanico. Artistic director Eduardo Vilaro’s vision to champion the work of Latine choreographers is evident in the four featured artists of this program bill.

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“Biéde In Motion”
REVIEWS | Paul McInnes

“Biéde In Motion”

With backgrounds in planning for iconic Japanese fashion brand Comme des Garçons and archiving for the art industry, Tokyo-based consulting office Kleinstein run by Yusuke and Miki Koishi are real-deal intellectuals with a drive and aim to bring art, fashion and performance to the forefront of cultural consciousness.

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School Report
REVIEWS | Di Rachel Howard

School Report

This year’s San Francisco Ballet School Spring Festival offered a moment to say hello to the company’s next generation of dancers, and goodbye to the leader who shaped them: Patrick Armand, who took over the Trainee Program in 2010 and directed the school since 2017, has just stepped down. In the stark architecture of the Blue Shield Theater lobby, glass cases held photos of Armand, during the dashing prime of his Ballet Theatre Francais career, taking bows alongside Nureyev after a performance of Bejart’s “Song of a Wayfarer.” Meanwhile onstage, a pas de deux by school faculty Viktor Plotnikov best...

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