World-class review of ballet and dance.
London has very little to do to convince the world of its artiness. It’s often given that eye-roll inducing title of a ‘world city;’ whatever your heart wishes to see will probably, at some point, make its way through London.
FREE ARTICLE
The New York City Ballet’s Fall Fashion Gala was unusually tense this year, as the dancers refused to walk the red carpet or attend the post-performance dinner in protest of the standstill on their collective bargaining agreement.
Continue Reading
On a Saturday afternoon in late September, the air feels electric in an upstairs rehearsal studio at Kestrels, in the Gowanus neighborhood of Brooklyn.
Continue Reading
Alethea Pace's latest work, “between wave and water,” is a journey. Performers physically lead an audience through the Hunts Point neighborhood of the Bronx while examining the history of a local Enslaved African Burial Ground.
Continue Reading
Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
Continue Reading
Sir Kenneth MacMillan began his choreography for “Manon” with the pas de deux, and from this shining, central point spun outward. Building the story from its heart, almost as if from the inside out, the pas de deux reveals not only the emotional connection between the two dancers, but their place in the world.
Continue Reading
If the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
Continue Reading
It’s amusing to read in Pacific Northwest Ballet’s generally exceptional program notes that George Balanchine choreographed the triptych we now know as “Jewels” because he visited Van Cleef & Arpels and was struck by inspiration. I mean, perhaps visiting the jeweler did further tickle his imagination, but—PR stunt, anyone?
Continue Reading
As I watch one after another pastel tutu clad ballerina bourrée into the arms of a white-tighted danseur, a melody not credited on the program floats through my brain. You know the one.
Continue Reading
Misty Copeland’s upcoming retirement from American Ballet Theatre—where she made history as the first Black female principal dancer and subsequently shot to fame in the ballet world and beyond—means many things.
Continue Reading
Haneul Jung oscillates between the definition of the Korean word, man-il meaning “ten thousand days” and “what if.”
Continue Reading
Moss Te Ururangi Patterson describes his choreographic process having a conversation with other elements. As he describes pushing himself under the waves, and a feeling of meditative, buoyancy as he floated in space, the impression of light beneath the water was paramount.
Continue ReadingLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
Continue ReadingIt is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
Continue Reading
The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Continue ReadingAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Continue ReadingOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
Continue Reading