New Wave
What distinguishes a dancer from a choreographer? This is, in the end, an empirical question, one that can only be answered in the theatre.
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World-class review of ballet and dance.
What distinguishes a dancer from a choreographer? This is, in the end, an empirical question, one that can only be answered in the theatre.
Continue ReadingThere is something charmingly didactic and intellectually generous about American dance companies touring Europe. At the start of a performance, it is not unusual for a director to step forward and offer a brief introduction, explaining the reasons for the tour and sketching the wider context of the programme. Paris audiences experienced this with the Martha Graham Dance Company last autumn, and now again with Dance Theatre of Harlem. Robert Garland, at the helm of the ensemble, took a moment to anchor the performance in lineage, recalling the company’s origins and its illustrious founder, Arthur Mitchell. As Garland recounted, Mitchell...
Continue ReadingHubbard Street Dance Chicago’s Winter Series takes its audience on a journey back through time.
Continue ReadingWhat are you looking for in a night out in the theatre? Do you seek beauty? The ethereal? That may be the case for most at a ballet, but CCN Ballet de Lorraine’s double bill at the Southbank Centre wants to bring us on a whole trip.
Continue ReadingDresses, domestic chores, grief. A community of women more feral than feminine. Five performers wear a changing selection of 40 dresses that serve as both costume and prop.
Continue ReadingPossibly one of Los Angeles’ best kept terpsichorean secrets, artistic director, choreographer, and teacher Josie Walsh has decidedly forged a path unlike any other.
Continue ReadingThe legacy of George Balanchine will be forever entwined with the enduring fiefdoms he established, the School of American Ballet and the New York City Ballet.
Continue ReadingOf the many stylish touches in Scottish Ballet’s “Mary, Queen of Scots,” the titular Tudor’s black pointe shoes are my favourite.
Continue ReadingThe Australian Ballet’s “Signature Works,” as a whole, is a compact and varied celebration of dance in the moment.
Continue ReadingThe Joffrey Ballet’s lithe and strong dancers take on four historic works in this mixed-bill “American Icons” programme.
Continue ReadingIn Trisha Brown's 1983 “Set and Reset,” dancers float in and out of the wings like bubbles.
Continue ReadingTalk about perfection! While the countdown is on, as Gustavo Dudamel, music director of the world-class Los Angeles Philharmonic, prepares to exit the stage for the New York Philharmonic (a big boohoo), his presence last weekend at Walt Disney Concert Hall further cemented his status as musical genius, tastemaker and catalyst for good.
Continue ReadingWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
Continue ReadingThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
Continue ReadingAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
Continue ReadingAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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