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FEATURES | By Candice Thompson

Dance Reflections

Choreography is often described as a kind of drawing crafted from the materials of time, space, and flesh. In describing “Crowd,” choreographer Gisèle Vienne expands on this idea, likening her work for fifteen dancers taking part in a rave on a stage to “paintings where you have thousands of characters and the details are kind of overwhelming.” The dancers narrate their individual stories kinetically as the piece unfolds like an all night party, their movements modulating between different feelings of time.

REVIEWS | By Gracia Haby

Dances with Gravity

In physics, the motion of a pendulum can be described as: θ(t) = θocos (ωt). In choreography and composition, the motion of a pendulum can also be described as Lucy Guerin and Matthias Schack-Arnott’s “Pendulum: a mesmerising dance with gravity.” In both, the data of time, length, and gravity come together in simple harmonic solution.

REVIEWS | By Karen Hildebrand

Final Run

There’s a lot going on in Yvonne Rainer’s “Hellzapoppin’ What about the bees?” performed by eight dance artists and actress Kathleen Chalfant as special guest. A founding member of Judson Dance Theater, writer, and experimental filmmaker, Rainer’s wit and breadth spans several mediums in her newest work. At 87, with two Guggenheims and the MacArthur Fellowship under her belt, Rainer claims this show is her finale.

REVIEWS | By Sara Veale

Dangerous Desires

“Mayerling,” Sir Kenneth MacMillan’s 1978 ballet about Austria’s Crown Prince Rudolf, is steeped in death. The show is bookended by funeral scenes and centres on a grisly murder-suicide. MacMillan himself actually died backstage during a performance in 1992. And now, 30 years later, a revival meant to mark that national loss unfolds amid another one. Opening night was the Royal Ballet’s first performance since Queen Elizabeth II’s passing.

REVIEWS | By Marina Harss

A Week at New York City Ballet

It happens that three of the programs I was most interested in seeing this season fell in the same week. One (Oct. 5) consisted of a medley of pieces to the music of Stravinsky; another (Oct. 6) combined the 1959 work “Episodes,” set to four works by Anton von Webern with the sumptuous “Vienna Waltzes,” from 1977; and the last (Oct. 7) included two of the company’s major “hits” of the last decade-and-a-half, Alexei Ratmansky’s “Concerto DSCH” and Justin Peck’s “Everywhere We Go.”

TALKING POINTES | Claudia Lawson

Jenna Caley, Born to Dance

Today I’m speaking with the divine Jenna Roberts. Jenna grew up in Newcastle and started dancing only because a local ballet studio set up shop on the same street as her family home. But as fortune would have it, that local studio happened to be the Marie Walton Mahon Dance Academy, as it was known back then. And so Jenna, and little sister Callie, started dancing. For any outsider, it was clear the Robert’s sisters were born to dance—with high arches and long, lean legs, genetics almost pre-determined their careers. By the time Jenna was a teen, she was winning...

REVIEWS | By Merilyn Jackson

Corps of Work

The spectacle is the existing orders' discourse about itself, it's laudatory monologue. Guy Debord, Society of the Spectacle

REVIEWS | By Cecilia Whalen

House Party

Darrah Carr Dance entered the stage like sunlight pouring gently into a sleeping room: a wave of bodies stepping onto an empty stage softly but swiftly conquering the space with exuberance. Seán Curran and Darrah Carr's "Céilí," which premiered in the new state of the art Irish Arts Center in Hell's Kitchen, refers to the Irish word for a house party. The set (by Mark Randall) is an outline of a house, with golden-brown roof beams hanging from above, a window positioned stage right, and wooden benches lining both sides of the stage. A collaboration between the two Irish American...

REVIEWS | By Madelyn Coupe

Of Ill Repute

Queensland Ballet staged Kenneth MacMillan’s “Manon”—a rarity in and of itself. It is not every day that a MacMillan piece graces an Australian stage, and when it does you know that it was by no means an easy feat to get it there. Expectations were set high for this premiere; “Manon” was pitched as the diamond of the company’s season and promised to fully immerse the audience in the absolute wealth and passion of the tale. A promise, it seems, that Queensland Ballet was fully justified to make.

REVIEWS | By Valentina Bonelli

Dior at Rome Opera Ballet

Since Eleonora Abbagnato has been Ballet director at Opera in Rome, glamour as well has entered the theatre. A popular figure in Italy for her features on TV, married to an ex-football player, with her beauty and elegance the former Paris Opera étoile has found a way to attract a new audience to ballet thanks to collaborations with a top fashion brand: Dior. Always a muse for Italian fashion designers, Abbagnato has found in Maria Grazia Chiuri her ideal designer as they share a similar history as Italian women, who both worked very hard to reach their goals, remaining rooted...

REVIEWS | By Faye Arthurs

Fall Fling

It’s late September: the air is crisp, the kids are back at school, and the Fall for Dance festival is ensconced at City Center for two weeks of grab-bag programming at bargain-bin prices. I chose to attend Program 3 of this year’s fest because it featured the live premiere of Jamar Roberts’s “Morani/Mungu (Black Warrior/Black God),” which premiered virtually during the Covid-adapted FFDF of 2020. Arriving 5 months after George Floyd’s death and overtly tackling the struggle to simply exist as a Black person in America, I found this solo incredibly moving at the time. I’ve wanted to see it...

REVIEWS | By Marina Harss

Welcome Guests

New York has always been a hub for dance from all over the world, but the last few years, because of the pandemic, have created a sense of isolation. We began to forget how exciting visits by far-off companies can be, how they quicken the senses and renew our admiration for a particular artist, or introduce us to something completely new.

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.