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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English National Ballet’s latest mixed bill presents a trio of works from William Forsythe, a dancemaker known for slanting ballet into new gradients, some playful, some confrontational, all of them spirited and agile.
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Martha Graham is the Georgia O’Keefe of dance. No matter what the source material, the primary subject of her works is womanhood.
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Petite in stature, with beautiful, delicate features, Scottish dance artist Suzi Cunningham is nonetheless a powerhouse performer: an endless shape shifter whose work ranges from eerie to strange, to poignant, or just absolutely hilarious.
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With his peerless vocabulary of postmodern abstract moves—or, as he’s called it, “gumbo style,” which blends Black dance with classical ballet techniques—Kyle Abraham, a 2013 MacArthur Genius grant awardee, has been making thought-provoking works for decades.
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Can art save civilization? The question matters deeply to Brenda Way, who has dedicated her life to the arts in San Francisco.
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At this year’s Resolution Festival in London, one of the city’s major events of the dance calendar, I found myself in a conversation about the state of affairs of dance internationally.
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While the television show Severance has been exploring the pitfalls of a complete division between people’s work and home lives, Sara Mearns’s recent solo show at New York City Center presented the dangers of the inverse.
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Reggie Wilson's “The Reclamation” opens in a waiting room. The stage is bare, and one dancer wanders downstage alone, as if his number's been called.
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The Royal Ballet, with their polite style and emphasis on purity of line, does not always make for the best interpreter of George Balanchine’s works.
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Oona Doherty is a choreographer that increasingly needs no introduction. The London-born Belfast native, who worked as a dancer across Europe, roared onto the scene as a choreographer with her...
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In Ballet West’s most recent triple bill, which featured Jiří Kylián’s “Symphony of Psalms,” George Balanchine’s “Apollo,” and Nicolo Fonte’s “The Rite of Spring,” the dancers shone brighter than the choreographers.
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In 1982, Bebe Miller made her debut as a dancemaker when Ishmael Houston-Jones invited her into his Parallels series that featured Black choreographers who were experimenting in new forms.
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The bubble machine is the first thing that hits you as you enter. There are bubbles everywhere. The second is the energy—families with babies and small children are crammed into every corner, bringing a kinetic force to the auditorium. It's pandemonium—all going off like popcorn in a pan.
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Programming, like staging and choreography, is an art, and Ángel Corella surpassed himself with all three in this early spring show featuring all new works.
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In some ways, dance could be considered an extreme sport: it meets many of the same criteria, featuring (at times) high speeds, significant risk, and the potential for severe injury....
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Have they started or are they just practicing?” asks a gentleman sitting in the row behind me. It’s a fair question: students from Rambert School of Ballet nonchalantly execute their own sequences of repeated movements as the audience filters in, taking their seats on all four sides of the vast performance space.
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In a career spanning almost 30 years, American dancer-choreographer Trajal Harrell has created a body of work borne of a rich imagination and an enquiring mind.
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Co. Un Yamada, a dance company and creative collective established in Tokyo in 2002, returned to the New National Theatre Tokyo last week to reprise their popular family-friendly production from 2021, “Obachetta.”
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Vous les voyez, les étoiles dans la salle?” the woman next to me whispered as the lights dimmed. And indeed, the stalls glittered with former stars of the Paris Opéra Ballet—dancers I recognised, visibly moved and deep in conversation during the interval.
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There is probably no more beloved ballet, by audiences and dancers alike, than “Romeo and Juliet.”
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