Who is David Roussève? Is he a 64-year-old African American dance/theater artist taking to the stage in a solo outing for the first time in 20 years? Check!
Folded forward at the waist, knees pressed together, but with her feet apart, Rachel Coulson assumes bird-like form. With her legs held as if bound at the knees, she travels backwards. Arms extended away from her torso giving the impression of wings, she rotates her hands as if her feathery...
What’s special about Rudi van Dantzig’s “Romeo and Juliet” is how deeply it is steeped in the textures of popular devotion and everyday life, reminiscent of Flemish painting in its chiaroscuro and crowded humanity.
Limón Dance Company launches its 80th anniversary season with three works that represent the company’s past, present, and future. They not only celebrate José Limón, but demonstrate how his themes guide the company in fresh new ways.
What’s special about Rudi van Dantzig’s “Romeo and Juliet” is how deeply it is steeped in the textures of popular devotion and everyday life, reminiscent of Flemish painting in its chiaroscuro and crowded humanity.
Who is David Roussève? Is he a 64-year-old African American dance/theater artist taking to the stage in a solo outing for the first time in 20 years? Check!
Folded forward at the waist, knees pressed together, but with her feet apart, Rachel Coulson assumes bird-like form. With her legs held as if bound at the knees, she travels backwards. Arms extended away from her torso giving the impression of wings, she rotates her hands as if her feathery tips are taking readings of the environment around her. In the conjuring of shapes, of course a waterbird appears before my eyes. This is part two of DanceX, presented by the Australian Ballet, where Stephanie Lake Company’s “Auto Cannibal,” replete with Coulson’s bird-like solo, shares the stage with West Australian...
Limón Dance Company launches its 80th anniversary season with three works that represent the company’s past, present, and future. They not only celebrate José Limón, but demonstrate how his themes guide the company in fresh new ways.
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It’s hard to imagine a ballet quite as exquisite as Michel Fokine’s 1909 “Les Sylphides.” The white tutu piece, set to a score by Fredéric Chopin, introduced the world to the concept of a plotless ballet—and, in that, opened the door for every choreographer who was to come.
Tiler Peck has easily proven she can pull off multiple roles: dancer, in addition to artistic director, choreographer, and curator. The success of “Turn It Out With Tiler Peck and Friends”—which debuted at City Center in 2022 as its inaugural Artists at the Center program and has since been performed across the U.S. and in London—is evidence of that.
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.
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...
Performance
New York City Ballet: Fall Fashion Gala
Place
David H. Koch Theater, Lincoln Center, New York, NY, October 8, 2025
On a Saturday afternoon in late September, the air feels electric in an upstairs rehearsal studio at Kestrels, in the Gowanus neighborhood of Brooklyn.
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.
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.
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?
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.
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.
Moss Te Ururangi Patterson describes his choreographic process having a conversation with other elements. As he describes pushing himself under the waves, and a feeling of meditative, buoyancy as he...
Performance
DanceX Festival: Royal New Zealand Ballet in “Te Ao Mārama” by Moss Te Ururangi Patterson / The Australian Ballet and The Australian Ballet School in “Allegro Brillante” by George Balanchine / Restless Dance Theatre in “Seeing Through Darkness” / The Australian Ballet in Lucy Guerin's “Ground Control” / Dancenorth Australia in “Wayfinder” (excerpt)
Place
Playhouse, Arts Centre, Melbourne, Australia, October 8, 2025
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