World-class review of ballet and dance.
I can’t remember seeing the Joyce Theater as full of energy. With the hour long “I Am,” Camille A. Brown & Dancers opens the tent of Black joy for all to enter, raising goosebumps and heat on a cold February night.
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Allison Miller, the acclaimed drummer and band leader of the group Boom Tic Boom, presented her multi-media performance, “Rivers in Our Veins,” for a one-matinee-only performance at 92NY on February 2nd.
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In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light.
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“Well, it’s big,” Seattle ballet fans were saying as they headed into McCaw Hall’s sleek sanctuary of velvet settees and shiny metal staircases.
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Who says choreography can’t be taught? Not Ellen Robbins, a modern dance educator who has been teaching the art of choreography to young people in Soho for decades.
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Never forget!” With the 80th anniversary of the liberation of Auschwitz and International Holocaust Remembrance Day both having been recognized last month, these words, although unspoken, coursed through Melissa Barak’s first evening-length ballet, “Memoryhouse.”
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Talk about having a banner year! In 2024 alone, dancer, choreographer and spoken word artist Shamel Pitts not only received a MacArthur Fellowship and the Doris Duke Award, but was also honored with the Knight Choreography Prize.
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Translated, “malpaso” means misstep, suggesting clumsiness. In the case of Havana based Malpaso Dance Company, the name is a clever misdirection, pointing to a sense of humor often present with this versatile and highly trained troupe.
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On the eve of George Balanchine’s birthday, the New York City Ballet opened its Winter Season with a killer all-Balanchine program: “Concerto Barocco,” “Allegro Brillante,” and “Brahms-Schoenberg Quartet.”
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The connection between relatively new artistic director Tamara Rojo and longtime San Francisco Ballet fans has felt a little tenuous as the former Royal Ballet star and English National Ballet leader launches her second season programmed here on the West Coast.
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Today we have the pleasure of speaking with former Australian Ballet dancer Brooke Cassen. On Season Three of Talking Pointes, I spoke with Brooke on what became one of our most listened-to episodes of all time.
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New Yorkers who don’t have a fireplace during this deep January freeze can head to the Joyce Theater to see Ronald K. Brown’s Evidence A Dance Company, where the russet backdrops, rolling hips, and reggae beats give off plenty of warmth.
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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