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REVIEWS | By Rachel Howard

Future Movement

A festival of new works in search of ballet’s future must be valued as much for the conversation it catalyzes as the new dances themselves, and on this count alone, San Francisco Ballet’s Unbound festival ranks as a landmark success. Heated, giddy, disappointed, perplexed: Talk echoed through the War Memorial Opera House lobby all last week, as audiences rushed from candid panel discussion to curtain time, and the 12 international choreographers commissioned for this sweeping, questing survey paced the aisles, and glamorous visitors like Julie Kent flitted through the crowds. Ballet diehards and newcomers alike compared knee-jerk reactions. And the...

REVIEWS | By Merli V. Guerra

Invisible Threads

Presented by World Music/CRASHarts, “Sutra” highlights one of the finest most recent collaborations of Eastern music with Western dance, showcasing the innovative melodies of composer Zakir Hussain and contemporary ballet choreographer Alonzo King. “Sutra” is not only World Music/CRASHarts’ first commissioned work, but marks the 35th Anniversary of Alonzo King LINES Ballet as well, and made its world premiere in the company’s home city of San Francisco, Calif. before making its East Coast debut at the Institute of Contemporary Art in Boston, Massachusetts.

REVIEWS | By Gracia Haby

Animal Nature

From modern Latin, from the Greek words sumbiōsis, ‘a living together,’ sumbioun, ‘live together,’ and sumbios, ‘companion’ comes the word symbiosis, an interaction between two different organisms living in close physical association, typically to the advantage of both. In the dictionary, the very definition of a symbiotic relationship, why, it almost sounds like a pas de deux. A ‘step of two’ performed by dancers working together, dependent upon each other, with each other, in synchronicity, aware, at all times, of the other.

REVIEWS | By Rachel Howard

Surrender

I wonder if it’s been like this for New Yorkers: You see one Justin Peck ballet, set to an orchestra score written by a pop musician, and you’re half-charmed by the youthful exuberance, and appreciate the influence of Jerome Robbins, but keep a healthy reserve of skepticism because somehow the whole package seems to lack substance. But then you see a more classical Peck ballet—“In Creases,” say, set to Philip Glass’s score for two pianos—and the formal intelligence is undeniable, but the exuberance remains, and you think, OK, he’s not just a pop-culture re-packager. And then maybe you see his...

REVIEWS | By Victoria Looseleaf

Angels in America

There are angels on earth, and they are the dancers, choreographers, composers and artistic directors who help collectively elevate the hearts and minds of concert-going mortals-if only for a brief respite—especially in these very troubled times. To be more specific: Dance Theatre of Harlem, under the assured and loving hands of Virginia Johnson, made a triumphant debut at the Broad Stage in a program of three disparate—and emotionally charged—works.

REVIEWS | By Rachel Elderkin

Irresistible

“Manon” is perhaps one of Kenneth MacMillan's most celebrated works, so it is fitting that it draws to a close a Royal Ballet season that has seen a number of performances in commemoration of the 25th anniversary of the choreographer's death.

REVIEWS | By Oksana Khadarina

Mixed Masters

There was much to admire about the Washington Ballet’s program titled “Mixed Masters” which the company brought to the Kennedy Center Eisenhower Theater in April. This sophisticated, ambitious and highly enjoyable triple bill included signature ballets by the 20th century great choreographers: George Balanchine, Frederick Ashton, and Jerome Robbins—the masters “whose genius has shaped our art form immeasurably,” artistic director of the Washington Ballet Julie Kent wrote in the program notes.

REVIEWS | By Sara Veale

Forsythe at the Ready

English National Ballet has spent recent months fighting off rumours about its cohesion, or purported lack thereof, under Tamara Rojo’s leadership; whispers have abounded alleging a hostile environment and a worrying degree of turnover, with around a third of ENB’s dancers having left the company in the last two years. That said, the company’s latest bill betrays no signs of such disquiet, presenting a troupe that looks assured, energetic and game to try its hand at a an increasingly diverse array of styles.

REVIEWS | By Victoria Looseleaf

A New Giselle

Men. You can’t live with ’em and you can’t let ’em die. At least that’s the thinking in “Giselle,” the Romantic gold standard of any traditional ballet company in which the heroine falls for the wrong man, goes insane, perishes and is reborn as a Wili, a vampire-like creature that takes revenge on her fraudulent beau, only to let him live in the end.

REVIEWS | By Rachel Elderkin

Music of the Ballet

The Royal Ballet’s centenary celebration of composer Leonard Bernstein’s birth has resulted in a compelling triple bill that features premieres by Wayne McGregor and Christopher Wheeldon, alongside a revival of Liam Scarlett’s “Age of Anxiety.”

REVIEWS | By Oksana Khadarina

All Robbins

In less than a month, New York City Ballet will unveil its “Robbins 100” festival at David H. Koch Theater in New York to commemorate the centennial of Jerome Robbins’ birth. In the course of a three-week period, the company will present six distinctive programs, featuring 19 ballets by Robbins, plus two world premieres, including a new ballet by Justin Peck choreographed to the music by Leonard Bernstein.

REVIEWS | By Rebecca Ritzel

Pas de trois

Three young dancer/choreographers debuted new ballets in Washington, D.C., last month, each with distinct strengths: Clifton Brown is highly musical, Gemma Bond has a great sense of structure and Marcelo Gomes excels at developing character.

Featured Reads

REVIEWS | Lorna Irvine

Teenage Angst and Institutions

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,...

INTERVIEWS | Marina Harss

The Me of Today

The choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.

REVIEWS | Rachel Howard

Starry Nights

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.

REVIEWS | Faye Arthurs

America, F**K Yeah

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.

REVIEWS | Emily May

Acosta Danza’s Choreographic Soup

An “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.