World-class review of ballet and dance.
We are thrilled to announce the launch of our second printed edition Fjord Review #2! Contributed to by our brilliant cohort of writers, FR #2 is 160 pages of pure dance, in a totable, perfect-bound book, printed sustainably by carbon-offset certified printers Hemlock. We've stepped it up for FR#2 and will be releasing an incredible video in conjunction with this edition.
Godwin Merano and Arielle Miralles. Photograph by Karolina Kuras
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Fjord Review #2 features photography by Karolina Kuras, design by Lorenzo Spatocco and is edited by Penelope Ford. As well as publishing in-depth reviews, interviews with stars of the stage and profiles of choreographers that move us, and feature articles for a deep dive into dance, we also have the pleasure of featuring some fantastic guest photographers.
FR#2 will be available through our website soon. Sign up to our newsletter for updates on the release, behind the scenes and more info on this sensational second edition. We are thrilled to be able to work with all our collaborators, and our heartfelt thanks to all who supported this edition! Stay tuned for updates on the launch of FR#2!
Tamara Rojo’s ambitious “Raymonda” was the last thing she did at English National Ballet before assuming the directorship in San Francisco three years ago, so it was natural that she would want to bring it here early in her tenure.
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With each dance season’s new ballets, some become memorable with audiences and critics for their artistry and emotional connection, fewer reveal themselves as hits, and even fewer have the potential to become box office record breakers. Tulsa Ballet's new “Alice in Wonderland” is the rare gem that does all three.
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Dreadlocks are not the first thing that come to mind, looking at UK artist Nicola Turner’s fibre sculpture currently installed at Carvalho Park gallery in East Williamsburg. But I hesitate to open a review with a vision of the poop emoji.
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Inspired by breaking, neo-classical ballet and dance theater, Rubberband, founded in Montreal in 2002 by Victor Quijada, presented two works at BroadStage over the weekend in what was seen as a homecoming of sorts for Quijada.
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