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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Today I have the privilege of speaking with the divine Juliet Doherty. Juliet was born in Albuquerque, New Mexico, which is slightly more Breaking Bad than “Swan Lake,” but Juliet's grandparents owned a ballet studio which passed to Juliet's mother, and so the artistic genes ran deep.
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One of the gems of New York City’s dance landscape is the Graham Studio Series, a programming cycle that offers behind-the-scenes interaction with the work of the Graham Company in their studio space. In early January, the series presented a Graham Deconstructed event exploring Martha Graham’s modernist masterwork “Cave of the Heart.”
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Sara Veale’s new book Wild Grace: The Untamed Women of Modern Dance (Faber & Faber) examines the lives of nine boldly subversive dancemakers over nearly a century, starting with Isadora Duncan and ending with Pearl Lang. Along the way, it provides a pared but potent mini-history on the emergence of women’s rights.
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Repertory Dance Theatre’s “Emerge” had the feel of a dance studio recital, for better and for worse. The annual showcase, designed to emphasize the robust dance community in Utah—which does, by the way, exist—had a warm, familiar feel, but lacked sufficient pedigree for a company of RDT’s caliber.
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In today's episode we speak with superstar Dr. Brandi Cole. You may have seen Dr. Brandi on your screens as she worked to keep the Matilda's on the field during...
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The Martha Graham Dance Company performed two of its Greek myth-themed works at Philadelphia’s Suzanne Roberts Theatre over the weekend.
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Although Arlene Croce was not a trained dancer (her afterschool arts training in childhood was as a painter) she took dancing seriously as both an occasion for pleasure and a cultural endeavor, and she took writing about it to be a serious cultural action as well, at least as important to the mental health of the public as some of the verbiage by politicians and their editors.
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Talking Pointes, the podcast that shines a light on life in dance and the performing arts, is back for a fourth season.
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The Ragamala Dance Company returned to New York’s Joyce Theater with a visual feast for the eyes and stimulating food for thought with their new production “Children of Dharma.”
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For me, an undeniable highlight of Christmas 2024 was watching Wallace and Gromit: Vengeance Most Fowl with my family.
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My favorite books of 2024 offer dance history from the artist’s point of view. Perhaps there is nothing too unusual about this, and yet, something about this trend feels special as we step with trepidation into the first days of 2025.
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Lloyd Knight, Principal Dancer entering his 20th season with the Martha Graham Dance Company, debuts his first one-man show as part of Works & Process at the Guggenheim on January 13th.
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The Alvin Ailey American Dance Theater’s annual December residency at City Center featured four world premieres. I caught two: Hope Boykin’s “Finding Free” and Lar Lubovitch’s “Many Angels.”
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“It was the best of times, it was the worst of times,” so began Charles Dickens’s masterpiece, A Tale of Two Cities.
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Elphaba (Cynthia Erivo) steps down the steps, rests her hat on the floor and takes in the Ozdust Ballroom in Wicked. She elevates her arm, bringing her bent wrist to her...
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The Sarasota Ballet does not do a “Nutcracker”—they leave that to their associate school. Instead, over the weekend, the company offered a triple bill of which just one ballet, Frederick Ashton’s winter-themed “Les Patineurs,” nodded at the season.
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I couldn’t stop thinking about hockey at the New York City Ballet’s “Nutcracker” this year, and not only because the stage appeared to be made of ice: there were a slew of spectacular falls one night I attended.
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Last week, during the first Fjord Review Dance Critics’ Festival, Mindy Aloff discussed and read from an Edwin Denby essay during “The Critic’s Process” panel.
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There are “Nutcrackers,” and then there’s American Contemporary Ballet’s “The Nutcracker Suite.”
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Is it as traditional as there being “The Nutcracker” or the British pantomime on at Christmas time, for there to be an alternative offering?
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