World-class review of ballet and dance.
To begin her creative process, the legendary German choreographer Pina Bausch often asked her dancers questions. These questions—and further, the thoughts and deeper rumblings they provoked in the dancers—then formed the basis for many of her pieces.
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I woke up this morning to the tragic news of Aleksei Navalny’s death in a Russian prison, and the first thing I thought of was the ballet premiere from the night before. That’s new.
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One way to get to know the history of a company is through the “liner notes” of its “Swan Lake” production, and for those of us continuing to build an admiring familiarity with Pacific Northwest Ballet via its digital season offerings, Kent Stowell and Francia Russell’s “Swan Lake” provides an interesting glimpse into PNB prior to Peter Boal’s leadership.
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In the dimly lit theater at Irish Arts Center on the west side of Manhattan, James Greenan puts himself through his paces.
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There was no shortage of drama and poetry this past week at San Francisco Ballet.
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At 82, Twyla Tharp shows no signs of slowing down. She brought two world premieres and an all-star revival to the Joyce this week. The newest dances made it clear that although she’s still a dynamo, aging is very much on her mind. She is exploring wistful terrain these days, but she is doing it with her characteristic humor and high step count.
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Ausia Jones, who also dances with Ballet Jazz Montreal, choreographed the opening work at PennLive Arts presentation of the company’s touring show, Essence.
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The New York City Ballet’s excellent 2023 Fall Season featured only the works of founding choreographer George Balanchine. This winter, eight choreographers are being showcased as the company’s 75th anniversary celebration continues.
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June 16, 1989. Wearing only black leggings and a pixie haircut, Molissa Fenley performed her solo, “State of Darkness,” inspired by Nijinsky’s “Le Sacre du Printemps” at the Colorado Dance Festival in Boulder.
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It is not unusual for a New York City Ballet program to consist of two Peck ballets and a Ratmansky. But until last night, there had not been two different Pecks represented in such a scenario.
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In these fast-paced times, where we are bombarded with spectacles that compete to be flashier, more action-packed, and more hi-tech than the next, it was a joy to experience an evening of charm and timeless simplicity.
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The popular sentiment is clear: Matrix atmosphere meets ballet is a hit. “Mere Mortals,” Tamara Rojo’s first production as new artistic director at San Francisco Ballet, must be counted a success.
Continue ReadingLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
Continue ReadingIt is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Continue ReadingAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Continue ReadingOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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