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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He’s a choreographer, movement composer and trans-media storyteller: He’s d. Sabela grimes, who grew up in Lompoc, California, and didn’t know that his true calling would be as a dancer, choreographer and teller of tales until he moved to Philadelphia in the late 1990s and met Rennie Harris of Rennie Harris Puremovement.
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Here where I live in California, San Francisco Ballet will soon gear up for a revival of its massive ballet about Artificial Intelligence, a spectacle that ends on a note flattering to the tech bros in nearby Silicon Valley: strife gives way to eternal hope, and the vision of a sleek, luminous future reigns. Well, up the coast in Seattle they’ve got a different take on unregulated AI, and I’m here for it.
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Piece by piece, spanning two decades, Lucy Guerin Inc’s “Pieces” continues to grow. An invitation extended to a selection of choreographers to give shape to adventurous ideas and create a new choreographic work within a supportive framework has expanded from a five- to ten-minute work presented in the Lucy Guerin Inc studios to a twenty-minute piece on the University of Melbourne Art and Culture (UMAC) stage.
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Cleveland native Dianne McIntrye received a hometown hero's welcome during her curtain speech prior to her eponymous dance group thrilling the audience in her latest work, “In the Same Tongue.”
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A man, much to his wife’s chagrin, has a nasty little habit: at night, he turns into a bat and flies out of their marital bed to partake in all...
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The Japan Society continued its Yukio Mishima Centennial Series with a newly commissioned dance work titled “The Seven Bridges (Hashi-zukushi)” based on Yukio Mishima’s short story by that name originally published in 1956.
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London is a changed city this week. The cold front has come, and daylight hours have plummeted. The city is rammed with tourists, buskers, and shoppers.
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The Royal Ballet’s new restaging of “Everywhere We Go”—the Sufjan Stevens-scored ballet that secured Justin Peck his appointment as resident choreographer at New York City Ballet in 2014—challenges the company’s dancers to adopt a specifically American brand of pizzazz.
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Quadrophenia is about young men . . . and I do weep for young men still, because we are still struggling,” Pete Townshend—80 years old—playfully told Stephen Colbert while promoting the latest incarnation of the Who’s 1973 rock opera and 1979 film: “Quadrophenia: A Rock Ballet,” which ran last weekend at City Center.
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The surge protectors needed replacement after the Hofesh Shechter Company’s concluded four nights performing “Theatre of Dreams” at the Powerhouse: International festival in Gowanus, Brooklyn.
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In the 1996 comedy Multiplicity, Michael Keaton plays a man who decides to clone himself several times over in order to meet the demands of work and family. Chaos ensues. On November 14, San Francisco Opera premiered “The Monkey King” by Huang Ruo and David Henry Hwang. While the narrative features chaos, the line drawn between the 30-year-old film and this new opera is that the titular Monkey King is played by three performers; or one singer, one dancer, and a puppet; or, six performers total, because the puppet Monkey King requires three puppeteers. The Monkey King is an agent...
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If classical ballet training—from Vaganova to Cecchetti—idealises effortlessness, silence, and a body almost freed from its own weight, modern dance insists on the opposite: the blunt truth that we are made of flesh and bone, and that this matter can itself become an instrument of power.
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Tides and the gravitational pull of the moon informed the latest work of Denison University of Ohio dance faculty members Marion Ramirez and Ojeya Cruz Banks.
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What drives the creative force in the universe? What impels motherhood? These are some of the questions that provoked the bold and colorful work that unfolded onstage as Gallim premiered “Mother” at the Joyce the first week of November.
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It’s a law of the universe, immutable as gravity: if you’re a ballerina, in December you’re dancing “The Nutcracker.”
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Bird-themed dances are nothing new. In addition to the likes of “Swan Lake” (in its numerous iterations, Hello, Matthew Bourne!), “The Firebird” and “The Dying Swan,” there was also Merce Cunningham’s 1991 “Beach Birds.”
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Juliana F. May’s “Optimistic Voices,” which premiered last week at BAM Fisher, was pitched as an exploration of the “tangled contradictions of family, eroticism, and motherhood.”
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In the summer of 2007, writer Stephen Manes, known for his best-selling Bill Gates biography, over thirty books for young adults and children, and for his work as a technology columnist, proposed a new endeavor. He wished to spend an entire season at Pacific Northwest Ballet to observe like a fly on the wall and capture in written word a world of which most people will never catch a glimpse.
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Move over, Matthew Bourne, there is a new voice in theatrical dance plays. Choreographer Penny Saunders' bespoke production of “Sherlock,” performed by Grand Rapids Ballet, was not only a triumph in bringing literature’s favorite super sleuth to the stage in dance form, but is an early contender as one of the 2025-26 dance season’s very best.
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On the night of Halloween in South Bend, Indiana, I weave through costumed partygoers as I make my way to a special double bill at the University of Notre Dame’s...
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