World-class review of ballet and dance.
"Fjord Review serves as an indispensable resource for the world of dance. Contributors offer well written and researched comment on what everyone's talking about - and what we might have missed. Unexpected humor and honest candor can be found in every article, and the photography and art direction elevate dance to the place of reverence and relevance it deserves. Bravo, Fjord."
Peter Boal
Artistic Director, Pacific Northwest Ballet
Discover insightful conversations with prominent figures in the dance world, essays on ballet history and performances, reviews of leading ballet companies, and stunning dance photography in our latest issue.
184 pages. 7.25″ x 10″Description
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The body as vessel; the body as memory container; the body as truth-teller. All of these corporeal permutations were on view at the UCLA Nimoy Theater last Thursday, when Eiko Otake and Wen Hui performed their haunting, elegiac and deeply meaningful work, “What is War.”
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If ballet and politics were ever a thing, Houston Ballet principal Harper Watters is, perhaps, one of its staunchest advocates.
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It was sensory overload at the Marciano Art Foundation last weekend when six members of LA Dance Project performed side-by-side, around, and, at times, seemingly in tandem, with Doug Aitken’s film, Lightscape.
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Three dancers drip down a wall like paint. Their backs press against the background as they slowly bend their knees, oozing down a blank canvas. This is a scene from John Jasperse's latest work, “Tides,” which had its premiere as part of the La MaMa Moves! Dance Festival April 10-13.
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In its 92nd season—its second programmed by still relatively new artistic director Tamara Rojo—San Francisco Ballet kept playing with box office strategies.
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English National Ballet’s latest mixed bill presents a trio of works from William Forsythe, a dancemaker known for slanting ballet into new gradients, some playful, some confrontational, all of them spirited and agile.
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Martha Graham is the Georgia O’Keefe of dance. No matter what the source material, the primary subject of her works is womanhood.
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Petite in stature, with beautiful, delicate features, Scottish dance artist Suzi Cunningham is nonetheless a powerhouse performer: an endless shape shifter whose work ranges from eerie to strange, to poignant, or just absolutely hilarious.
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With his peerless vocabulary of postmodern abstract moves—or, as he’s called it, “gumbo style,” which blends Black dance with classical ballet techniques—Kyle Abraham, a 2013 MacArthur Genius grant awardee, has been making thought-provoking works for decades.
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Can art save civilization? The question matters deeply to Brenda Way, who has dedicated her life to the arts in San Francisco.
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At this year’s Resolution Festival in London, one of the city’s major events of the dance calendar, I found myself in a conversation about the state of affairs of dance internationally.
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While the television show Severance has been exploring the pitfalls of a complete division between people’s work and home lives, Sara Mearns’s recent solo show at New York City Center presented the dangers of the inverse.
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Reggie Wilson's “The Reclamation” opens in a waiting room. The stage is bare, and one dancer wanders downstage alone, as if his number's been called.
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The Royal Ballet, with their polite style and emphasis on purity of line, does not always make for the best interpreter of George Balanchine’s works.
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Oona Doherty is a choreographer that increasingly needs no introduction. The London-born Belfast native, who worked as a dancer across Europe, roared onto the scene as a choreographer with her...
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In Ballet West’s most recent triple bill, which featured Jiří Kylián’s “Symphony of Psalms,” George Balanchine’s “Apollo,” and Nicolo Fonte’s “The Rite of Spring,” the dancers shone brighter than the choreographers.
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In 1982, Bebe Miller made her debut as a dancemaker when Ishmael Houston-Jones invited her into his Parallels series that featured Black choreographers who were experimenting in new forms.
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The bubble machine is the first thing that hits you as you enter. There are bubbles everywhere. The second is the energy—families with babies and small children are crammed into every corner, bringing a kinetic force to the auditorium. It's pandemonium—all going off like popcorn in a pan.
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Programming, like staging and choreography, is an art, and Ángel Corella surpassed himself with all three in this early spring show featuring all new works.
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In some ways, dance could be considered an extreme sport: it meets many of the same criteria, featuring (at times) high speeds, significant risk, and the potential for severe injury....
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