Shakespearean Twist
It’s a drag to report that I had the urge to walk out of my first performance back in NYC after a long summer break.
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"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
all articles
Leading the Pack
Things seem to be clicking in place for Mamela Nyamza. Her latest work “The Herd/Less” is touring the world while her recognition as a choreographer with a distinction for the subversive and political has earned her a Silver Lion for dance at the Venice Biennale.
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Ronald K Brown, Raw and Resilient
After taking a field trip in the second grade to see the Alvin Ailey American Dance Theater, Ronald K. Brown was inspired to take his first dance class at Bedford Stuyvesant Restoration Corporation, a Brooklyn-based community center.
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Dance with Defiance
As much as it is a cliché to reference, there is something special in finding a work that so aptly fits that famous quote from George Balanchine: “See the music. Hear the dance.”
Continue ReadingWild Things
Wei Wang begins as any faun does: alone and center stage, awakened from a reverie and looking a touch wobbly.
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The Screen is Always Greener
Coming in hot off their premiere at the Paris Opera Ballet, rising creative duo Jess & Morgs present “Deepfake.”
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Subversions of the Ideal
There’s a palpable intent to the swerving compositions of Pam Tanowitz’s “Pastoral:” the mannered choreography, with its long, soft angles and consciously discursive phrasing.
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Un/Natural Behaviour
A night with Thick & Tight might look a little different to a standard evening of contemporary dance, in a few ways.
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It’s the Taking Part That Counts
It’s not often that you’ll get three competition kids together with the goal of not being the best. That was the goal of dancers Charlotte Mclean and Jack Anderson in collaboration with composer Malin Lewis.
Continue ReadingCharacter Dance
You can't see the first character who appears in Kashia Kancey's “I Believed It Too,” which was presented at Baryshnikov Arts September 24-26. From behind the audience enters a veiled...
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Northern Soul
Northern Ballet is the little company that could. Often forgotten and in the shadow of larger UK companies, there is a sense of a new momentum since the takeover by Federico Bonneli of the Leeds-based outfit.
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Power Play
The lights dim and the mystical Eye of Horus commands our focus. Hieroglyphics and distinctive carvings flank the famous Egyptian symbol of resurrection as the overture swells and the drop curtain morphs into a portal to the past.
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American Icons
Fresh from performing the concert version of George Balanchine’s “Who Cares?” at the Hollywood Bowl earlier this month, Los Angeles Ballet mounted a tribute to “American Icons” which included Jerome Robbins “The Cage,” Paul Taylor’s “Dilly Dilly,” and the return of artistic director Melissa Barak’s “Wavelength” for an evening at the Broad Stage in Santa Monica.
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Dancing with Soul, Stanton Welch
Born in 1969 to a pair of gifted dancers—Marilyn Jones and Garth Welch—in Melbourne, Australia, it only seemed natural that their son, Stanton Welch, would follow in his parents’ balletic footsteps.
Continue ReadingSunset over Malandain Ballet Biarritz
Malandain Ballet Biarritz is approaching the end of an era. After nearly three decades at its helm, Thierry Malandain will hand over the direction of the Centre Chorégraphique National to...
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Poetry in Motion
After a quiet August, the New York City dance calendar fills up almost impossibly quickly, with one particular program generating ample, and justified, hype. With its first program, New York City Center’s Fall for Dance Festival kick-starts the season with a jolt of energy.
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Cymru Goes for Gold
“Blue is the colour of the open sky, of water, freedom and depths we cannot fathom.” This is the mission statement for tonight’s bill from National Dance Company Wales, the first curated programme from new artistic director Bakani Pick-Up.
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By Any Other Name
Anne Teresa De Keersmaeker hit the Théâtre de Chaillot like a bomb, as “Rosas danst Rosas” took over the theatre for a sold-out run this September, bringing with it the irreverence of the Belgian avant-garde of the 1980s.
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Directing Dance Umbrella
When London’s Dance Umbrella festival launched in 1978, its future was uncertain. Would festival-goers and funders love or loathe the radical contemporary dance it presented?
Continue ReadingLiminal Dance
Dance has always captivated me, but it very rarely grips me in the same way as the other things I like to watch—horror movies and cult documentaries—do.
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