World-class review of ballet and dance.
"Fjord Review serves as an indispensable resource for the world of dance. Contributors offer well written and researched comment on what everyone's talking about - and what we might have missed. Unexpected humor and honest candor can be found in every article, and the photography and art direction elevate dance to the place of reverence and relevance it deserves. Bravo, Fjord."
Peter Boal
Artistic Director, Pacific Northwest Ballet
Discover insightful conversations with prominent figures in the dance world, essays on ballet history and performances, reviews of leading ballet companies, and stunning dance photography in our latest issue.
184 pages. 7.25″ x 10″Descrizione
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At a time when the arts in America are under attack and many small dance companies are quietly disappearing, San Francisco’s dance scene—for decades second in its volume of activity only to New York—still has a pulse.
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Noé Soulier enters the space without warning, and it takes a few seconds for the chattering audience to register the man now standing before them, dressed simply in a grey t-shirt and black pants, barefoot.
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In the first few seconds that the lights come up on BalletX at the Joyce Theater, an audience member murmurs her assent: “I love it already.”
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The right foil can sharpen the distinct shapes of a choreographic work, making it appear more completely itself through the comparison of another.
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“Was it Benjamin Franklin, that sagacious and witty man, who, on signing the Declaration of Independence that hot July day in 1776, admonished his colleagues that they had better hang...
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Over the span of two weeks, New York City Center’s Fall for Dance Festival brought to its storied stage a wide range of performers from across the globe with different disciplines, perspectives, and movement vocabularies. Its fifth and final program reiterated what it’s all about: exploring, and celebrating, all the different ways we dance.
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Program Four of the 22nd annual Fall for Dance Festival opened with an odd expression of gratitude: “thank you for going through all that you went through to get here,” Michael S. Rosenberg, the President and CEO of New York City Center, told the crowd. The 80th session of the UN General Assembly had shut down much of midtown (even to pedestrians), including the block of 55th street that is home to City Center.
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Recently, I came across a video of a woman having a meltdown at an American Football game. The details are unclear of what exactly went down, but the short clip of this young woman screaming ‘fuck off!’ to the person filming her while being restrained by her parents has garnered millions of views and thousands of derisive comments.
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As Martha Graham so succinctly put it, “The body says what words cannot.” Such was the case when Butoh master Oguri, his wife Roxanne Steinberg, Spanish-born Andrés Corchero and Chinese movement artist Mao, talked up a metaphorical storm in a dance performance with three crack musicians at the Electric Lodge over the weekend.
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The New York City Ballet’s fall season opened with a nicely varied all-Balanchine program. The man had range. The peasant campiness of “Donizetti Variations” led right into the romantic tremolos...
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When viewing any work of art, patience may be a necessity, rather than a virtue alone. At least, in New York City Center’s second program for its annual Fall for Dance Festival, instant gratification is discouraged, with a slate of three works that reward viewers as they build, gradually, to ecstasy, horror, and mania.
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At a time when masked ICE thugs are conducting raids up and down California, and the Supreme Court has just decreed the US government can continue arresting people based on the color of their skin, it was entirely appropriate that Rogelio Lopez’s new show opened with a voice over acknowledgement of the “horrors” besieging America’s Latino communities.
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There’s a dash of madness and oodles of heart in this 2022 dance theatre work from the choreographer Michael Keegan-Dolan, who takes us on a whistlestop tour through his biography, including his childhood in 1970s Dublin and his breakthrough years as a dancer (and eventual dancemaker) in ‘90s London.
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Melbourne-based dance artist Jo Lloyd uses choreography as a social encounter, revealing behaviour over various durations and contexts.
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According to her program notes, Sharon Chohi Kim was inspired by murmurations—“both spontaneous flocks of starlings and a collection of low, continuous sounds”—in her premiere (one-night only) of the same...
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We enter the cavernous Wade Thompson Drill Hall of the Park Avenue Armory to an oblong stage area flanked by seating on the long sides, emulating the sightline of Anna Wintour and her corps of high couture fashionistas at Fashion Week.
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London City Ballet returned to Sadler’s Wells last weekend with a programme of rarely seen works by Balanchine, Ratmansky, Scarlett, and Melac. Still in the early stages of its revival—the company originally folded in 1996 and relaunched just last year—it was a daring offering, and one that more than delivered.
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Two years ago Jonathan Watkins, choreographer and former dancer with the Royal Ballet, founded a new venture: Ballet Queer.
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It was a picture-perfect evening at the Hollywood Bowl for music and dance under the stars. The last concert of the Los Angeles Philharmonic’s classical series, it was to have featured conductor and former Dudamel Fellow, Jonathan Heyward, but the Franco-British maestra, Stephanie Childress, led the ensemble instead.
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The lobby of the Ace Hotel Boerum Hill is an excellent place to work, particularly in the room with the long table and library lamps.
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