World-class review of ballet and dance.
Has any choreographer extracted as much value from the chug step as Mark Morris? Jerome Robbins came close in “Glass Pieces,” and George Balanchine gave chugs some big moments in “Apollo,” but Morris consistently uses the simple move to demonstrate a profound musicality.
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Adrian Danchig-Waring is a poet. His body articulates anticipation and pleasure, the tumult of ecstasy, and the ache of longing in Lar Lubovitch’s “Desire,” created as part of Lubovitch’s 80th birthday celebration in collaboration with the Guggenheim’s Works and Process series.
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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.
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George Balanchine’s 1967 ballet “Jewels”—in which each act is inspired by a different semi-precious gem—has proven a touring warhorse.
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The headline performance of Jacob’s Pillow Dance Festival’s Hip Hop Across the Pillow mini-festival—which took place from August 2-6, 2023 to celebrate the 50th anniversary of hip hop—was an abundance of embodied knowledge.
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What would the story of Alice in Wonderland look like if it was reimagined by a group of women?
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The show starts outside the theater. A car, with its right rear window busted out, pulls up, music blaring, bass turned up.
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Four distinct works, their creation initiated by a shared prompt. Four choreographers, plus time, space, and the ten dedicated contemporary ballet artists of Amy Seiwert’s company, Imagery.
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Who doesn’t love the circus—especially nouveau cirque? With its unclassifiable blend of genres, it reflects so much of what it means to be human—the comedy, absurdity, beauty, sadness, delight, and more.
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“This is historical,” Ballet22 co-founder Theresa Knudson told the audience between works on the company’s latest program, “Momentum.”
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Pilobolus has become synonymous with pushing boundaries, both in the physical and the thematic. The company’s run at New York City’s Joyce Theater, which culminated their Big Five-OH! Tour—a belated-by-Covid celebration of the company’s 50th anniversary—was a reaffirmation of this mission.
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Lucinda Childs/Robert Wilson's “Relative Calm” (1981/2022) opened the six-week long ImpulsTanz Vienna International Dance Festival in its the 40th anniversary on July 7 at Vienna's Volkstheater.
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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