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"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."

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Artistic Director, Pacific Northwest Ballet

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Fjord Review #6

Fjord Review #6

Book reviews of Lola Lafon’s Reeling, interviews with authors Mindy Aloff on Why Dance Matters and Marina Harss on The Boy from Kyiv, etc...

240 pages. 7.25″ x 10″

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all articles

A Dancer's Story
REVIEWS | Faye Arthurs

A Dancer's Story

The Dance Theater of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past.

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Musically Inclined
REVIEWS | Sophie Bress

Musically Inclined

Despite the fact that dance and music are often regarded as inextricably linked, it remains astonishing to experience the work of a choreographer who channels the score particularly well—or a group of dancers who embody it especially organically. Repertory Dance Theatre’s 58th season closer, “Gamut,” happened to have both.

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Dance Downtown
REVIEWS | Karen Hildebrand

Dance Downtown

One might easily mistake the prevailing mood as light-hearted, heading into intermission after two premieres by Brenda Way and Kimi Okada for ODC/Dance’s annual Dance Downtown season. Maybe this is just what we need to counter world events, you may think. But there is much more to consider beneath the high production values of this beautifully wrought program. Okada, for instance, folds a dark message into her cartoon inspired “Inkwell.” And KT Nelson’s “Dead Reckoning” from 2015 reminds us the outlook for climate change looms ever large.

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Wayne McGregor: Riding the Wave

Wayne McGregor: Riding the Wave

It’s not every choreographer who works with economists, anthropologists, neuroscientists and cognitive scientists, not to mention collaborating with the Google Arts & Culture Lab and the Swedish pop group ABBA,...

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After Trisha Brown
REVIEWS | Karen Hildebrand

After Trisha Brown

Dance scholars have been remarking on the great Trisha Brown nearly from the day she first stepped into Robert Dunn’s class—the genesis of Judson Dance Theater—in the 1960s.

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No Fairy Tale
REVIEWS | Lorna Irvine

No Fairy Tale

Generally, a production of “Swan Lake” is only as good as its Odette and Odile, symbolic of the duality of nature. So, it’s wonderful to see Sophie Martin back, dancing one of her signature roles. She's predictably brilliant.

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The Point Being?
REVIEWS | Faye Arthurs

The Point Being?

The Nederlands Dans Theater has been coming to City Center since 1968. The company’s associations with edgy choreographers like Jiri Kylian, Crystal Pite, William Forsythe, and Ohad Naharin have made for some thrilling performances over the years.

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Written on the Body

Written on the Body

There may not be a direct correlation between bibliophiles and lovers of Butoh— the Japanese modern dance form created as a response to the bombing of Hiroshima that is sometimes...

Performance

Oguri and Andrés Corchero: “Body as Evidence, Phase II” 

Place

Electric Lodge, Venice, California, March 29-31,, 2024

Words

Victoria Looseleaf

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One Thousand Pieces
REVIEWS | Rachel Howard

One Thousand Pieces

Reading up on the backstory of how Alejandro Cerrudo’s “One Thousand Pieces” finally made it to the stage at Pacific Northwest Ballet, one is struck by the epic commitment the company lavished upon an epically scaled dance.

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Baroque ‘n’ Roll
REVIEWS | Lorna Irvine

Baroque ‘n’ Roll

Created by Scottish Dance Theatre’s artistic director Joan Cleville, and filmed in one long, continuous take by digital artist Tao-Anas Le Thanh, “The Life and Times” is inspired by amongst  other Baroque works, the Diego Velazquez’s painting, Las Meninas, which invites the viewer to observe the painter in his studio, flanked by a group of sumptuously attired models. 

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Masterful Moves
REVIEWS | Karen Hildebrand

Masterful Moves

Doug Varone is known for the masterful way he moves groups of people around onstage, yet he may have outdone himself in his latest work, “To My Arms/Restore.”

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Airborne
REVIEWS | Lorna Irvine

Airborne

There's an almost disarming delicacy to Curious Seed's work, as evinced by this beautiful, Herald Angel Award-winning production, “And The Birds Did Sing” Christine Devaney, dancing solo for the entire forty-minutes long duration, infuses so much raw emotion into even her micro gestures, that it's deeply heartfelt and moving. 

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Godless in Illinoise

Godless in Illinoise

I went to see “Illinoise” on its last day at the Park Avenue Armory. The Justin Peck production was already set to move to Broadway, and Sufjan Stevens fans were already...

Performance

“IlIinoise” by Justin Peck

Place

Park Avenue Armory, New York, NY, March 26, 2024

Words

Apollinaire Scherr

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A Parisian Dream
REVIEWS | Rachel Howard

A Parisian Dream

A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.

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Sparks Flew
REVIEWS | Merilyn Jackson

Sparks Flew

Entering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music.

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What the World Needs Now

What the World Needs Now

Mark Morris's “The Look of Love” begins with praise. Dancers stand in a circle facing inward with clasped hands and chests lifted as Burt Bacharach's “What the World Needs Now”...

Performance

Mark Morris Dance Group: “The Look of Love”

Place

Brooklyn Academy of Music, Brooklyn, NY, March 20, 2024

Words

Cecelia Whalen

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