World-class review of ballet and dance.
Aterballetto, the main contemporary company in Italy (now a national choreographic centre), made a hit two years commissioning a new creation by Marcos Morau: “Notte Morricone” (Morricone Night). The Spanish director and choreographer has become one of the most in demand dance
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Growing up in British Columbia’s Okanagan region with two mothers, the Canadian choreographer Cameron Fraser-Monroe learned about the European side of his heritage, participating in Ukrainian folk dance from age six.
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March in Hong Kong concluded with an extraordinary week of flowers. In Victoria Park, the annual Hong Kong Flower Show was pitched.
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The work of the late Frederick Ashton is less often revived in the United States than it is in Great Britain.
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For its upcoming New York City Center season (April 23-26, 2026), Ballet Hispánico will present “Mujeres: Women in Motion,” programming that centers on Latina women who are shaping the language of dance.
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Misty Copeland makes an observation. “I see,” she says, looking into the audience packed with attendees in formalwear, “a lot of people who care about ballet.”
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Chamber music can be fun, too! That, at least, is the apparent message that violinist Johnny Gandelsman is trying to spread in his two-hour program, “Johnny Loves Johann.” He’s certainly not wrong.
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What makes a story stick across not just decades, but millennia? The longevity of ancient Greek drama points to an innate essentiality, but the variations of these works, too, have played a critical role in its durability.
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“We are in a shambles.” This is the headline statement for Catherine Young’s touring work “Ciseach | An Embodied Manifesto” which will make its way through Ireland at a time when it is perhaps needed most.
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Five years ago Oakland Ballet launched its Dancing Moons Festival as a way to highlight Asian American and Pacific Islander choreographers in response to the surge of anti-AAPI hate during the height of the coronavirus pandemic.
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Gibney Company’s season at the Joyce Theater was full of common threads, promising beginnings, and lingering energy.
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It seems fitting that as the world held its collective breath over violent threats from the US White House, the Martha Graham Dance Company would perform “Chronicle,” an anti-war statement from 1936, as the centerpiece for the opening of its New York City Center season.
Continue ReadingThe title of this dance interpretation of The Tempest highlights a notable departure from canon. In “We Caliban,” Shobana Jeyasingh imagines Shakespeare’s titular native in the collective sense—a tribe, a spirit and a place at once.
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.
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It 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 ReadingWhen we think of countries that have shaped the world of dance our mind will often drift to the United States, Russia, or Germany. But what of Luxembourg?
Continue ReadingIn times of rapid change, predicting the road ahead can seem to be a fool’s errand. But on a spring afternoon at Lincoln Center, I feel confident in this assertion: the future of dance is very bright.
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