World-class review of ballet and dance.
Ballet Unbound” was a diverse mixed repertory program that landed squarely in Ohio Contemporary Ballet’s sweet spot as a company presenting classical modern dance, and neo-classical and contemporary ballet works.
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It is a strange time to be celebrating our nation’s milestone birthday, our semiquincentennial.
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It’s hard to predict where Hubbard Street Dance Chicago will go next. Literally. Through the repertoire selections presented in the company’s two-week run at the Joyce Theater, the dancers demonstrate a particular aptitude for moving in a way that’s endlessly surprising.
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“The Juniper Tree” is a macabre fairy tale involving three feminine archetypes: mother, stepmother, daughter.
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La Scala Theatre’s ballet season featured a programme offering a snapshot of European choreography from 25 years ago.
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The Mark Morris Dance Group, now celebrating its 45th anniversary, visited the Brooklyn Academy of Music for a quick late-March run with two topical dances that were new to New York: one heavy and one light.
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Do ballet trends bubble up cyclically, or did artistic directors collude to engineer this year’s “Firebird” mania? Suddenly this spring, the flaring-eyed creature immortalized in Stravinsky’s 1910 score is headlining programs at American Ballet Theatre, New York City Ballet, and Dance Theatre of Harlem, almost all at once.
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“Empreintes” featuring two new creations by Jess & Morgs and Marcos Morau, reads as a choreographic response to Walter Benjamin’s reflections on the work of art in the age of mechanical reproduction.
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Maurice Béjart would surely have been delighted to see La Seine Musicale’s vast Grande Salle, that striking structure seemingly floating on the river above the Île Seguin, filled for all six March performances of his company’s tour.
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Penn Live Arts presented Rennie Harris’s “Losing My Religion” last week as part of its America Unfinished Series, marking the country’s semiquincentennial.
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A gifted satirist, Jane Comfort’s dance theater productions are razor sharp and wickedly indelible. Take, for instance, the evening length “Beauty” (2012), with its robotic Barbie beauty contest.
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On the first weekend of spring, Japan Society presented multidisciplinary, avant-garde artist Hiroaki Umeda and his dance ensemble Somatic Field Project in an evening-length program of his latest cutting-edge dance works.
Continue ReadingWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
Continue ReadingThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
Continue ReadingAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
Continue ReadingAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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