World-class review of ballet and dance.
"Fjord Review serves as an indispensable resource for the world of dance. Contributors offer well written and researched comment on what everyone's talking about - and what we might have missed. Unexpected humor and honest candor can be found in every article, and the photography and art direction elevate dance to the place of reverence and relevance it deserves. Bravo, Fjord."
Peter Boal
Artistic Director, Pacific Northwest Ballet
Discover insightful conversations with prominent figures in the dance world, essays on ballet history and performances, reviews of leading ballet companies, and stunning dance photography in our latest issue.
184 pages. 7.25″ x 10″Description
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What's your poison? Tom of Finland, or Boy George? Madonna, or Marilyn? Top, or bottom? There have been so many recent dramas of late, focussing on eighties queer culture: The Line of Beauty, Pride, Love Song to Lavender Menace, and It's A Sin, among others.
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The New York City Ballet’s 2024 Fall Fashion Gala was once again a smashing fundraising success, pulling in 3.2 million dollars and packing the house with slew of well-dressed celebrities and socialites.
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Jessica Lang’s “Black Wave,” her first creation as Pacific Northwest Ballet’s new resident choreographer, is an elusive allegory wrapped inside a metaphor wrapped inside a dream. Rarely have I so wanted to ask a choreographer what she intended.
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To celebrate the 90th anniversary of the School of American Ballet, advanced students performed Balanchine’s “Serenade” (also 90 this year) on a special, one-off New York City Ballet program.
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“Circle Electric” makes a magnifying glass of the stage, and places different dancers in different configurations in the spotlight with the intention of observing them and thereupon making inquiries.
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Across North Africa, the all-night music-dance-trance ritual called lila (pronounced lee-lah) is celebrated as a means for spiritual healing.
FREE ARTICLE
The Fall for Dance Festival programming formula runs roughly thus: feature a new troupe, include a pet (or vanity) project of a big NYC star, and end with a feel-good group showcase.
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As the fight for greater visibility for women choreographers continues, it was encouraging to see Carlos Acosta, director of Birmingham Royal Ballet, commission an all-female creative team for “Luna,” the final piece in his trilogy celebrating the company’s hometown.
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He is the love of your life. You are his one-and-only. The pair of you is doomed: Obligations to the social order make your relationship impossible. The only way out—double suicide. Actually, this being eighteenth-century Japan, you let him literally do it all; still, you are his forever and there is no turning back.
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Measured against his own criteria, French dance maker Jérôme Bel would seem a failure. In the eponymously named show that opened the L’Alliance New York Crossing the Line Festival last week,...
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It’s a new era at Smuin Contemporary Ballet, but incoming artistic director Amy Seiwert was still invoking her old boss pre-curtain as the company toured its first program under her leadership to the San Francisco suburb of Walnut Creek.
FREE ARTICLE
I have a confession. Until last week, I had never seen “Coppélia.” I know the story well, however, and a young me performed many approximations of Swanilda’s role alone in my bedroom, thanks to a beloved and well-worn copy of The Illustrated Book of Ballet Stories, a book and cassette combo narrated by Darcey Bussell.
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The second program of the New York City Ballet’s fall season was called “Eclectic NYCB” and it lived up to its billing. It featured a second-tier Balanchine work, a Jerome Robbins crowd-pleaser, and two heartfelt pas de deux acquired from outside dance festivals—one a company premiere.
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New York City Center's Fall for Dance Festival continued with programs featuring Complexions Contemporary Ballet, a world premiere duet performed by Skylar Brandt and Herman Cornejo, and a tap tribute to Nina Simone performed by M.A.D.D. Rhythms collective, among other performances.
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This past July, the newly resurrected London City Ballet opened its first season since 1996 with a program of rarely seen works and new choreographies.
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Imagine a large net stretched across the vast expanse of our world system studded with an infinitely faceted jewel at each intersection.
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A smoky, orange hue hovers over the stage like wildfire smoke. A woman emerges from the flame, floating erect atop a crawling man’s back. She bends her knees and dismounts, arriving center stage, delivered to the audience like a queen.
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Last night I went to my first show of New York City’s jam-packed fall dance season, and though I never floated outside of the space-time continuum, I did feel invigorated by the New York City Ballet’s excellent opening program.
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En Chalant,” Richmond Ballet artistic director Ma Cong said at the opening night of the company’s Studio Finale series on September 17th, “is the opposite of nonchalant.”
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Terry Beck first saw Hellmut Gottschild’s Zero Moving dance company as a student at Temple University in the ’70s. Beck was working towards a teaching degree in Special Education and...
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