World-class review of ballet and dance.
Measured against his own criteria, French dance maker Jérôme Bel would seem a failure. In the eponymously named show that opened the L’Alliance New York Crossing the Line Festival last week, Bel professes he has no desire to entertain an audience.
Continue ReadingIt’s a new era at Smuin Contemporary Ballet, but incoming artistic director Amy Seiwert was still invoking her old boss pre-curtain as the company toured its first program under her leadership to the San Francisco suburb of Walnut Creek.
FREE ARTICLE
The second program of the New York City Ballet’s fall season was called “Eclectic NYCB” and it lived up to its billing. It featured a second-tier Balanchine work, a Jerome Robbins crowd-pleaser, and two heartfelt pas de deux acquired from outside dance festivals—one a company premiere.
Continue ReadingThis past July, the newly resurrected London City Ballet opened its first season since 1996 with a program of rarely seen works and new choreographies.
Continue ReadingHe is the love of your life. You are his one-and-only. The pair of you is doomed: Obligations to the social order make your relationship impossible. The only way out—double suicide. Actually, this being eighteenth-century Japan, you let him literally do it all; still, you are his forever and there...
Continue Reading
As the fight for greater visibility for women choreographers continues, it was encouraging to see Carlos Acosta, director of Birmingham Royal Ballet, commission an all-female creative team for “Luna,” the final piece in his trilogy celebrating the company’s hometown.
Continue Reading
He is the love of your life. You are his one-and-only. The pair of you is doomed: Obligations to the social order make your relationship impossible. The only way out—double suicide. Actually, this being eighteenth-century Japan, you let him literally do it all; still, you are his forever and there is no turning back.
Continue Reading
Measured against his own criteria, French dance maker Jérôme Bel would seem a failure. In the eponymously named show that opened the L’Alliance New York Crossing the Line Festival last week, Bel professes he has no desire to entertain an audience.
Continue Reading
It’s a new era at Smuin Contemporary Ballet, but incoming artistic director Amy Seiwert was still invoking her old boss pre-curtain as the company toured its first program under her leadership to the San Francisco suburb of Walnut Creek.
FREE ARTICLE
I have a confession. Until last week, I had never seen “Coppélia.” I know the story well, however, and a young me performed many approximations of Swanilda’s role alone in...
Performance
Place
Words
$49.95
Gift a year of world-class dance journalism. Recipients will receive full access to Fjord's wide diversity of reviews, interviews, articles & podcasts.
The second program of the New York City Ballet’s fall season was called “Eclectic NYCB” and it lived up to its billing. It featured a second-tier Balanchine work, a Jerome Robbins crowd-pleaser, and two heartfelt pas de deux acquired from outside dance festivals—one a company premiere.
Continue Reading
New York City Center's Fall for Dance Festival continued with programs featuring Complexions Contemporary Ballet, a world premiere duet performed by Skylar Brandt and Herman Cornejo, and a tap tribute to Nina Simone performed by M.A.D.D. Rhythms collective, among other performances.
Continue Reading
This past July, the newly resurrected London City Ballet opened its first season since 1996 with a program of rarely seen works and new choreographies.
Continue Reading
Imagine a large net stretched across the vast expanse of our world system studded with an infinitely faceted jewel at each intersection.
Continue Reading
A smoky, orange hue hovers over the stage like wildfire smoke. A woman emerges from the flame, floating erect atop a crawling man’s back. She bends her knees and dismounts,...
Performance
Place
Words
Last night I went to my first show of New York City’s jam-packed fall dance season, and though I never floated outside of the space-time continuum, I did feel invigorated by the New York City Ballet’s excellent opening program.
Continue Reading
En Chalant,” Richmond Ballet artistic director Ma Cong said at the opening night of the company’s Studio Finale series on September 17th, “is the opposite of nonchalant.”
Continue Reading
Terry Beck first saw Hellmut Gottschild’s Zero Moving dance company as a student at Temple University in the ’70s. Beck was working towards a teaching degree in Special Education and took a work study gig as a glass box technician.
FREE ARTICLE
Whether bending backwards as if channeling Paul Chavez’ otherworldly sounding music, or crouching down ever so slowly and quasi-teetering on the floor, dancer Roxanne Steinberg proved a master of the body.
Continue Reading
On opening night of the world premiere of Christopher Wheeldon’s “Oscar” at the Australian Ballet’s new home for the next three years, the Regent Theatre (as the State Theatre undergoes...
Performance
Place
Words
Having a dance company is always difficult. But founding a troupe and keeping it going for 25 years is even more challenging. Add to that the political, cultural and economic landscape of South Africa, and the odds might seem unsurmountable.
Continue Reading
New York City Ballet concluded its 75th anniversary year with its traditional summer residency upstate at the amphitheater of Saratoga Springs’s Performing Arts Center (SPAC).
Continue Reading
The inaugural Unite Ballet Festival, directed by Calvin Royal III, took place at the Joyce Theater from August 13-18, 2024.
FREE ARTICLE
Before digital audio, compact discs, cassette tapes with their ribbons of sound sandwiched within a small case, and pressed vinyl records, came wax cylinders to record and reproduce sound, thanks to Thomas Edison’s 1877 invention of the hand-cranked phonograph.
Continue Reading
Far from Southern Spain, but in the heart of Hollywood, that once monthly dance staple, “Forever Flamenco,” was alive and well again at the Fountain Theatre, if only for the...
Performance
Place
Words
Already a paid subscriber? Login
"This extraordinary little magazine has grown to become a cultural mainstay, not just a valued critical source, but a cultural communicator, critic, review, booster and historian."
With a physical subscription you'll get a physical magazine twice a year along with full site access. With a digital subscription, you'll only get access to articles and podcasts.
With either a physical or digital subscription, you'll get access to podcast content.
You just need a subscription to get full access to articles.