World-class review of ballet and dance.
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"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
A dancer’s lineage can tell you a lot. The places they’ve trained, the mentors they’ve had, the repertoire they’ve inscribed into their long-term memory all have an impact on the ways that they move, attack a set of steps, strategize a quick petit allegro or a dreamy adagio. So, too, is this true for choreographers.
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“So Are We,” from Sol León and Paul Lightfoot—former spouses who share a long-running creative career—is something of a full-circle event.
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OG Anunoby’s fingertip putback of Jalen Brunson’s Hail Mary three-pointer. Jordan Staal’s diving sniper goal. It’s playoff season, a time of year dominated by unbelievable, high-stakes athleticism across several sports (see also the French Open, the FIFA World Cup).
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Carly Topazio, the founding director of the Rosin Box Project, knows what a challenge it is to stand out amidst San Diego’s many dance companies.
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When is a music video also a dance film? This is a question that I’ve often asked myself as a result of the propensity amongst curators, speakers, museums, arts institutions...
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To launch her tenure as artistic director for the National Ballet of Japan, Miyako Yoshida added Sir Peter Wright’s “Swan Lake” (with Galina Samsova) to the repertoire, explaining the choice as a “new step forward” for the company.
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In the forest, it is never silent. Everything is in transmission with something else, be it tree roots to soil, plants to animals and insects, or warning cries that ripple through the forest when predators approach.
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At the vertical and horizontal intersection of two white lines on a darkened stage, performer Layla Meadows and her corresponding organic outline appears. For this restaging of “Glow,” a work choreographed by Gideon Obarzanek for the Melbourne Festival in 2006, it is Meadows’s time to be scanned and surveyed in this duet between a dancer and a machine.
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With its “sprawl to the wall” density, the city of Los Angeles seems a good fit for democratizing dance, i.e., presenting site-specific movement in an array of venues—both indoors and out—all free to the public. Indeed, Benjamin Millepied, the founder of L.A. Dance Project, began the series in the French capital with his Paris Dance Project in 2024, then called La Ville Dansée, with the idea of exporting it to his adopted city in a co-production.
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In Maia Chao’s “Being Moved,” the audience was ushered up to the 7th floor of the Whitney Museum of American Art in a large, crowded elevator with all sixty or...
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They’re saucy, sweet and stunning! They’re the ballerinas of American Contemporary Ballet and they’re helping close the company’s 2025-26 season with performances of “Spectacular Balanchine,” a program devoted to the choreography of George Balanchine.
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Unlike its messy neighbor, Los Angeles, one would think that establishing a ballet company in the relatively serene Orange County would be welcomed.
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The current global zeitgeist of uncertainty and the tendency to jump to judgment inspired veteran dancer-choreographer Beth Corning's latest dance-theater work, “Foolish Assumptions.”
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At a time when the roots of toxic masculinity are still being hotly debated within society (I'd argue nature and nurture aren't necessarily mutually exclusive bedfellows) the excellent “Boys Don't Dance” arrives, fully formed at a festival for children, but with enough layers to appease any audience.
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Just as The Wizard of Oz to the United States or Pinocchio to Italy, Alice’s Adventures in Wonderland is the coming-of-age novel of English childhood. The reception of Christopher Wheeldon’s...
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Director and choreographer Naoya Homan’s reimagining of “Aleko,” a one-act ballet where art takes center stage, dazzles the eye with a tragic meditation on the limits of freedom.
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In “Me Time—Danza al Museo” by choreographer Camilla Monga, dance becomes a tool for deeper seeing. Through choreography, the museum becomes a space of cognitive and emotional activation. The result is an encounter that lingers long after the performance ends.
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In San Diego, a surprisingly robust number of ballet companies compete for a relatively small audience. While two such companies, City Ballet of San Diego and Golden State Ballet, present mixed repertoire programs, San Diego Ballet performs almost exclusively the work of director-choreographer Javier Velasco.
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Julie Mehretu’s current exhibition at the Marian Goodman Gallery is astronomical. Our Days, Like a Shadow (a non-abiding hauntology) is a series of large, new, multicolored paintings that seem to float like planets, inviting viewers to walk around and in between them as if orbiting through a cosmic labyrinth.
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An insistent electronic beat suffuses the dark-wood auditorium while people are milling about and locating their seats.
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