World-class review of ballet and dance.
With a bang it begins, the explosion of a star, on stage at the Playhouse, Arts Centre. Bangarra Dance Theatre’s “Yuldea” has arrived on Wurundjeri Country (Melbourne) with a supernova to outshine entire galaxies, before heading to Bendigo, Djaara Country, for the final quivering leg and jutting arm of shifting gas and particles.
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Marking a centenary is always an occasion. And for the Martha Graham Dance Company, which was founded in 1926 and is the oldest dance troupe in America, the festivities have just begun.
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New York City Center's 80th anniversary features a fall dance season worth celebrating.
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From the moment the curtain rose, Queensland Ballet’s “Strictly Gershwin” dazzled.
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In just 17 years, artistic director Christine Cox has taken BalletX from a summer pickup project to a formidable choreographic factory.
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A virulent new strain of Covid is on the rise; democracy is in peril; and the war still rages on in Ukraine. But relief of the highest order came in the form of, “The Missing Mountain.”
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After 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.
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Watching 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, and it pulls no punches.
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Overheard after the curtain drop on “Theme and Variations,” the opener of English National Ballet’s latest mixed bill: “Well, it was very Balanchine!”
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Smaïl Kanouté is a French-Malian graphic designer, dancer, and choreographer based in Paris, and the founder of a Compagnie Vivons, which combines visual art, film, and live performance.
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Looking to the alphabet, many letters have been used to describe a swan, from the S of their long necks to the letters V and J to describe the overhead appearance of the flock echelons of them in flight.
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The past week has been one of celebration at New York City Ballet. The company is marking seventy-five years of existence with a season devoted to the ballets of its founding choreographer, George Balanchine.
FREE ARTICLEWatching 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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