Spellbound
Two performers crawl in on hands and knees wearing neon green, hooded coveralls—the lightweight papery kind made for working in a sterile environment—and clusters of balloons pinned to their backs.
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Fjord Review #7
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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all articles
Green Light
Will Rawls makes boundaries visible by defying them. Known for the disciplinary and topical range of his projects, the choreographer, director, and performer approaches issues of representation in “[siccer],” a multi-part, multi-site work co-presented by L’Alliance New York’s Crossing the Line Festival. A live performance at Performance Space New York accompanies a multimedia installation at the Kitchen, a book published by Wendy’s Subway, and an album published by the artist. With a creative process reaching back to 2018, the work delves explicitly into pandemic-era energies and inertias with focused intimacy and a pervasive sense of instability.
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Home and Away
It is always interesting when multiple theme steps emerge over the course of a mixed repertory evening, but it is uncanny on one featuring five different ballets, each with a different choreographer and composer, covering a twenty-year span (2005-2025).
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Of Dandelions and Resilience
Zvidance premiered its new work “Dandelion” mid-November at New York Live Arts. Founded by Zvi Gotheiner in 1989, Zvidance has been a steady presence in the New York contemporary dance scene, a reliable source of compositional integrity, and a magnet for wonderful dancers.
Continue ReadingMastering Misuse with d. Sabela grimes
He’s a choreographer, movement composer and trans-media storyteller: He’s d. Sabela grimes, who grew up in Lompoc, California, and didn’t know that his true calling would be as a dancer,...
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Back to the Future
Here where I live in California, San Francisco Ballet will soon gear up for a revival of its massive ballet about Artificial Intelligence, a spectacle that ends on a note flattering to the tech bros in nearby Silicon Valley: strife gives way to eternal hope, and the vision of a sleek, luminous future reigns. Well, up the coast in Seattle they’ve got a different take on unregulated AI, and I’m here for it.
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In Pieces
Piece by piece, spanning two decades, Lucy Guerin Inc’s “Pieces” continues to grow. An invitation extended to a selection of choreographers to give shape to adventurous ideas and create a new choreographic work within a supportive framework has expanded from a five- to ten-minute work presented in the Lucy Guerin Inc studios to a twenty-minute piece on the University of Melbourne Art and Culture (UMAC) stage.
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The Music Within
Cleveland native Dianne McIntrye received a hometown hero's welcome during her curtain speech prior to her eponymous dance group thrilling the audience in her latest work, “In the Same Tongue.”
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Flights of Fancy
A man, much to his wife’s chagrin, has a nasty little habit: at night, he turns into a bat and flies out of their marital bed to partake in all kinds of infidelities.
Continue ReadingWish Come True
The Japan Society continued its Yukio Mishima Centennial Series with a newly commissioned dance work titled “The Seven Bridges (Hashi-zukushi)” based on Yukio Mishima’s short story by that name originally...
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Heralding the Bright Days Ahead
London is a changed city this week. The cold front has come, and daylight hours have plummeted. The city is rammed with tourists, buskers, and shoppers.
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No Words, No Refrains
The Royal Ballet’s new restaging of “Everywhere We Go”—the Sufjan Stevens-scored ballet that secured Justin Peck his appointment as resident choreographer at New York City Ballet in 2014—challenges the company’s dancers to adopt a specifically American brand of pizzazz.
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Our Generation
Quadrophenia is about young men . . . and I do weep for young men still, because we are still struggling,” Pete Townshend—80 years old—playfully told Stephen Colbert while promoting the latest incarnation of the Who’s 1973 rock opera and 1979 film: “Quadrophenia: A Rock Ballet,” which ran last weekend at City Center.
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Dreamscape
The surge protectors needed replacement after the Hofesh Shechter Company’s concluded four nights performing “Theatre of Dreams” at the Powerhouse: International festival in Gowanus, Brooklyn.
Continue ReadingMonkey Business
In the 1996 comedy Multiplicity, Michael Keaton plays a man who decides to clone himself several times over in order to meet the demands of work and family. Chaos ensues....
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Martha Graham in Paris
If classical ballet training—from Vaganova to Cecchetti—idealises effortlessness, silence, and a body almost freed from its own weight, modern dance insists on the opposite: the blunt truth that we are made of flesh and bone, and that this matter can itself become an instrument of power.
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Moon Dance
Tides and the gravitational pull of the moon informed the latest work of Denison University of Ohio dance faculty members Marion Ramirez and Ojeya Cruz Banks.
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Mother of Creation
What drives the creative force in the universe? What impels motherhood? These are some of the questions that provoked the bold and colorful work that unfolded onstage as Gallim premiered “Mother” at the Joyce the first week of November.
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Dancing Out of Time
It’s a law of the universe, immutable as gravity: if you’re a ballerina, in December you’re dancing “The Nutcracker.”
Continue ReadingBirds of a Feather
Bird-themed dances are nothing new. In addition to the likes of “Swan Lake” (in its numerous iterations, Hello, Matthew Bourne!), “The Firebird” and “The Dying Swan,” there was also Merce...
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