A Danced Rituel
When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
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I was nowhere near the Theater District last week, yet I saw a variety of Broadway-inspired dancing. The choreographer Justin Peck—New York City Ballet’s neo-Robbins figure—was attached to both. He and his wife, Patricia Delgado, choreographed the dances for the Atlantic Theater Company’s off-Broadway production of the “Buena Vista Social Club” at the Linda Gross Theater in Chelsea. He also choreographed the Robbins/Bernstein dream ballet for Bradley Cooper’s new film Maestro.
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When Frank Gehry was tapped to be the architect of Walt Disney Concert Hall, home to both the Los Angeles Philharmonic and the Los Angeles Master Chorale, he envisioned the space to be “a living room for the city.”
Continue ReadingSan Francisco’s War Memorial Opera House is a grand, gracious theater, so it was a big deal to see the San Francisco Ballet School hold its end-of-year performances in that hall for the first time since at least 1985.
Continue ReadingAt its heart, “Sylvia” is a ballet about the resistance to love—a theme that continues to resonate deeply, as the human spirit often recoils from love, driven by fear, pride, a need for control, or the weight of duties and moral constraints.
Continue ReadingSince the 1970s, the Paris Opera Ballet has cultivated a distinctive tradition of nurturing its own dancers as emerging choreographers.
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