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REVIEWS | By Emily May

United in Intention, Individual in Execution

With the house lights still raised, renowned American dancer and choreographer Trajal Harrell stands downstage left, just across from two lines of slick, black piano stools. Wearing a white shirt and black trousers, as well as a frilly, floral dress that is hung around his neck, Harrell waits calmly and patiently as audience members clumsily try to find their allotted seats, smiling and nodding at people who catch his eye. At one point, he reaches into his pocket and grabs a tissue to wipe some sweat off his nose.

BOOKSHELF | FEATURES | By Sophie Bress

New Narrative

Meg Howrey isn’t interested in clichés. The professional dancer turned novelist’s approach to writing, especially when it comes to portraying ballet, is rooted in authenticity, nuance, and honesty. Her latest book, They’re Going To Love You, set to be released on November 15, 2022, is filled with these qualities.

REVIEWS | By Lorna Irvine

Poetry and Pain

Alan Cumming has never been one for half measures—whether taking on the iconic Emcee in “Cabaret” in 1993, garnering him a Tony award, Dionysus in a gospel tinged version of “The Bacchae,” or portraying every single role in his much acclaimed, raw and visceral one man Macbeth in 2012 (an absolute triumph of ambition and ideas.)

TALKING POINTES | Claudia Lawson

Dana Stephensen's Triple Bill

Today I am speaking with the divine Dana Stephenson. Dana grew up in Brisbane learning tap, jazz and singing, and never dreamed of being a ballerina. But ballet had a way of finding her. And strangely enough, it was a rejection letter from the Australian Ballet School and the disappointment that followed that awakened her passion and changed the trajectory of her life. In this beautifully courageous and candid interview, Dana speaks about her career with the Australian Ballet, managing her thyroid condition and the affect that had on her body image, and being promoted to Senior Artist after becoming...

REVIEWS | By Victoria Looseleaf

This Just In

After the pandemic shutdown, it felt so good to be back in REDCAT’s beautiful black box space for its annual three-week New Original Works Festival (NOW). Currently in its 19th edition—a feat in and of itself, the theater having opened in 2003—the celebrated series features nine premieres by some of Los Angeles’ foremost dance, theater, music and multimedia artists.

REVIEWS | By Emily May

Dancing Mania

I am sitting at a bar with a glass of wine waiting to watch Danish choreographer Mette Ingvarsten’s “The Dancing Public” as part of Tanz im August festival. Part dance party, part spoken word concert, the piece, according to press materials, aims to consider the 14th-17th century phenomenon of dancing plagues in our current post-pandemic context. “I hope there’s not going to be audience participation,” says one of the friends I’m attending with. Of course, from that moment, our fates were sealed.

TALKING POINTES | Claudia Lawson

Fame! with Rafael Bonachela

Today I am speaking with the Artistic Director of Sydney Dance Company, Rafael Bonachela. Rafael grew up in the small town of La Garriga near Barcelona in Spain, the eldest of 4 brothers. With no dance school in the town, the young Rafael would instead create dances for himself and his classmates, before at 15, being allowed to take the train to Barcelona to take his first dance class. It was a pivotal moment—both a star and a passion was born. By 17 he was offered a professional contract and was travelling Europe as a contemporary dancer. But rather than continue...

TALKING POINTES | Claudia Lawson

Reflections of Culture: Deborah Brown

Today I am speaking with the incredible Deborah Brown. Deborah is a descendant of the Wakaid Clan of Badu Island, the Meriam people of Murray Island, and also has Scottish heritage. Deborah grew up in Brisbane, learning jazz, ballet and tap at her local dance school, while also dancing around the family home learning cultural dance. It was an eye opener to a world she never dreamt could be her career. But after finishing school, Deborah moved to Sydney, and while working as an usher at the Lyric Theatre she auditioned for Bangarra Dance Theatre and was accepted. It was a love...

REVIEWS | By Róisín O'Brien

Law of the Jungle

Akram Khan’s newest production “Jungle Book reimagined” is a spellbinding work of dance theatre that retells Rudyard Kipling’s original tale through dance, animation, text and music. At its core is a group of fantastically talented dancers, who ably take on their animal characters with a commitment that doesn’t rely on lazy mannerisms.

TALKING POINTES | Claudia Lawson

Talking Pointes Season Two

Talking Pointes Podcast is back for another season: another 10 beautiful conversations about life in dance with your host Claudia Lawson.

TALKING POINTES | Claudia Lawson

Amy Harris, One Fine Day

Today we're speaking with the magnificent Amy Harris, principal dancer with the Australian Ballet. Amy, grew up in the small town of Ararat in rural Victoria, and along with her two sisters, learnt tap, ballet and jazz at her local hall. From there it was the dream run—at 15, Amy was accepted into the Australian Ballet School, before being offered a contract with the Australian Ballet Company on graduation—by the newly appointed director David McAllister no less. For many aspiring dancers, it was the dream run. But from here, Amy’s journey changed speeds. In this beautifully candid interview Amy talks about...

REVIEWS | By Cecilia Whalen

Under a Painted Sky

Battery Dance Festival's closing night of outdoor performances harmonized perfectly with the sky. The festival celebrated its 41st anniversary at home in Battery Park City's breathtaking Robert F. Wagner Park, and as the sun set, the sky turned from baby blue to pinks, oranges, and navy. Like the New York harbor which glistened from below, the five performing companies of the evening reflected this changing background remarkably, with costumes which coordinated with the natural color palette and movement that complimented the shifting backdrop of sailboats and seagulls.

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.