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Magic Numbers
REVIEWS | Sophie Bress

Magic Numbers

To stand out in a sea of world premieres, honesty and emotionality are key, if Repertory Dance Theatre’s most recent program, “Venture,” is any indication.

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Enduring Magic
REVIEWS | Gracia Haby

Enduring Magic

To Sir Frederick Ashton’s fast footwork and musicality belongs the Australian Ballet’s double bill “The Dream” and “Marguerite & Armand.” To the charming misadventure distillation of Shakespeare’s A Midsummer Night’s Dream bubbles “The Dream.”

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Love and Loss
REVIEWS | Rachel Howard

Love and Loss

The moment arrived two-thirds into the program, near the peak of Donald Byrd’s “Love and Loss.” For more than an hour, the beautiful bodies on screen had been doing eloquent things, to curiously numbing effect. 

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A Gala Affair
REVIEWS | Victoria Looseleaf

A Gala Affair

Since its founding in 2012 by Benjamin Millepied, L.A. Dance Project has not been lacking in talent, ideas, or, fortunately for them, funding, something that most dance troupes desperately need.

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Bloom Explorations
REVIEWS | Gracia Haby

Bloom Explorations

If you are an insect in the superorder Endopterygota, you have the super ability to experience complete metamorphosis. You can transform from the four stages of life—egg, larva, pupa, adult—in a process called holometabolism.

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Power Chords and Enigmatic Moves
REVIEWS | Victoria Looseleaf

Power Chords and Enigmatic Moves

WTF! And this reviewer means that in a good way. No, make that a great way! Whatever it was—and is—“takemehome,” the 65-minute work choreographed by Paris, France-based Dimitri Chamblas, was, by turns, provocative, enigmatic, stunning, stirring, singular and, well, something else again. 

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Collective Forward Motion
REVIEWS | Sophie Bress

Collective Forward Motion

As Ballet West celebrates its 60th anniversary, it is clearly on an upward trajectory. The company is consistently filling seats, tackling more ambitious work, and the company’s first triple bill of the season was no exception. 

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From Blossoms to Moss
REVIEWS | Karen Hildebrand

From Blossoms to Moss

I’d nearly forgotten the many pleasures of watching dance from a folding chair on a riser in a SoHo loft, sound of sirens and traffic rising from the street outside to compete with the more subtle notes of a cello.

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