Talent Time
It’s “Nutcracker” season at San Francisco Ballet—36 performances packed into three weeks—which means that the company is currently serving two distinct audiences.
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‘Tis the Seasons
Last week I caught up with choreographer Pam Tanowitz and Opera Philadelphia’s current general director and president, countertenor Anthony Roth Costanzo to talk about “The Seasons,” the company’s latest production premiering at the Kimmel Center’s 600-plus seat Perelman Theater on December 19.
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Notre-Dame de Paris
If Notre-Dame remains one of the enduring symbols of Paris, standing at the city’s heart in all its beauty, much of the credit belongs to Victor Hugo.
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Throughout the year, our critics attend hundreds of dance performances, whether onsite, outdoors, or on the proscenium stage, around the world.
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Reach for the Stars
When dancer and choreographer Marla Phelan was a kid, she wanted to be an astronaut. “I always loved science and astronomy,” Phelan said.
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Mishima’s Muse
Japan Society’s Yukio Mishima centennial series culminated with “Mishima’s Muse – Noh Theater,” which was actually three programs of traditional noh works that Japanese author Yukio Mishima adapted into modern plays.
Continue ReadingLatest
‘Tis the Seasons
Last week I caught up with choreographer Pam Tanowitz and Opera Philadelphia’s current general director and president, countertenor Anthony Roth Costanzo to talk about “The Seasons,” the company’s latest production premiering at the Kimmel Center’s 600-plus seat Perelman Theater on December 19.
Continue Reading
Notre-Dame de Paris
If Notre-Dame remains one of the enduring symbols of Paris, standing at the city’s heart in all its beauty, much of the credit belongs to Victor Hugo.
Continue Reading
Reach for the Stars
When dancer and choreographer Marla Phelan was a kid, she wanted to be an astronaut. “I always loved science and astronomy,” Phelan said.
Continue ReadingFloat like a Butterfly
Sans tutu or pointe shoes, New York Ballet principal Sara Mearns delivered a knock-out punch in her 20-minute solo, “Zebra.”
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Mishima’s Muse
Japan Society’s Yukio Mishima centennial series culminated with “Mishima’s Muse – Noh Theater,” which was actually three programs of traditional noh works that Japanese author Yukio Mishima adapted into modern plays.
Continue Reading
Critics' Picks 2025
Throughout the year, our critics attend hundreds of dance performances, whether onsite, outdoors, or on the proscenium stage, around the world.
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Take Me to Church
On December 11th, the Alvin Ailey American Dance Theater presented two premieres and two dances that had premiered just a week prior.
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In Contrasting Light
The “Contrastes” evening is one of the Paris Opéra Ballet’s increasingly frequent ventures into non-classical choreographic territory.
Continue ReadingRobot Love
I’m in the audience of the Pit to watch Kaori Ito’s solo performance, “Robot, l'amour éternel.” It’s in the blackbox performing space at the New National Theatre Tokyo, intimate and...
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On the Right Track
Architects often use scale, along with other design principles such as light, rhythm, and form, to subtly guide a person's eye and body through a space—to take the gaze at street level to the highest point of a building, or to the horizon and beyond.
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Everything Is Romantic
An enchanted forest, a love gone wrong, and a swarm of women in long white tutus—when a formula works, it really works. Such is the case of “La Sylphide,” the nearly 200-year-old Romantic ballet which first premiered in 1832.
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In the Land of Loki
In 1954, George Balanchine created a “Nutcracker” that was based on the classical Mariinsky production he danced in his childhood, utilizing the neoclassical style he honed in NYC. His version has become so renowned that in 1993, his name and the trademark symbol have been added to the title (even on the merch).
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Lycra and Lace
What is he looking at? The dancer in a blue biketard bounds around the stage, his curly hair flip-flopping as his head snaps right, left, and center.
Continue ReadingSpellbound
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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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.
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Mastering 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, choreographer and teller of tales until he moved to Philadelphia in the late 1990s and met Rennie Harris of Rennie Harris Puremovement.
Continue ReadingBack 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...
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