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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

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Dancing a Legacy
INTERVIEWS | Victoria Looseleaf

Dancing a Legacy

A celebrated performer, educator and arts leader, Christopher Charles McDaniel, who was born in 1992 in East Harlem, New York, fell in love with ballet at age seven and has never looked back.

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By the Letter
REVIEWS | Rebecca Deczynski

By the Letter

A nearly 200-year-old story is having a moment. “Eugene Onegin,” the novel in verse by Alexander Pushkin, which published in 1833, has made its way to countless stages in ballet and opera adaptations in the past few months—the most recent being American Ballet Theatre’s production of “Onegin,” the John Cranko ballet, which was originally created for the Stuttgart Ballet in 1965.  

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Women on the Verge

Women on the Verge

There is a tradition at play whenever the annual Flamenco Festival takes over Sadler’s Wells in the early summer, it is almost always swelteringly hot outside.

Performance

Flamenco Festival: “Creaviva” by Rafaela Carrasco / “Calentamiento” by Rocio Molina / “Magnifica” by María Moreno

Place

Sadler's Wells, London, UK, June 16-29, 2026

Words

Eoin Fenton

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Twists and Turns
REVIEWS | Karen Hildebrand

Twists and Turns

As part of a new two-week summer dance festival, Lincoln Center brings back a popular work by French choreographer Rachid Ouramdane first shown in NYC ten years ago. “Tordre,” which means to twist or contort, is a duet that operates as double solos.

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Revise and Repeat
REVIEWS | Rebecca Deczynski

Revise and Repeat

There is no such thing as a “Lucinda Childs vocabulary,” the choreographer herself clarifies in a pre-show talk with Gideon Lester, the artistic director and chief executive of Bard College’s Fisher Center. Inside the spectacular, Frank Gehry-designed building, the choreographer—who days before, celebrated her 86th birthday—is about two hours away from performing herself.  

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Flying colours
REVIEWS | Gracia Haby

Flying colours

Upon arrival, colour greets me, and how. A wall of colour and pattern by Jeffrey Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, it is joyous and intriguing, loaded and bright. Snaking up the two sides, in blue lettering, all caps, a tantalising premise: “The only way out is through.”

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Cross country

Cross country

Welcomed back to Los Angeles for the first time in 22 years (but who’s counting!), New York City Ballet made a triumphant return to the Dorothy Chandler Pavilion in two...

Performance

New York City Ballet: “Concerto Barocco” and “Allegro Brillante” by George Balanchine / “This Bitter Earth” by Christopher Wheeldon / “Concerto for Two Pianos” by Tiler Peck

Place

Dorothy Chandler Pavilion, Los Angeles, California, June 24-28, 2026

Words

Victoria Looseleaf

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Summer Swans
REVIEWS | Rebecca Deczynski

Summer Swans

Like picnicking in Central Park, catching the ferry to the Rockaways, or heading to Citifield for a Mets game, American Ballet Theatre’s “Swan Lake” is a well-established summer tradition for countless New Yorkers.

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On Point
REVIEWS | Robert Steven Mack

On Point

Pointeworks is the new kid on the block in San Diego’s thriving dance scene. Founded by Sophie Williams, a dancer with Texas Ballet Theatre and a San Diego native who grew up training in Solana Beach, the company says it seeks to provide off-season work for dancers and highlight female choreographers.

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Idol Dreams
REVIEWS | Elsa Giovanna Simonetti

Idol Dreams

Conceived by a Frenchman in imperial Russia and restaged by a Russian in post-Cold War France, “La Bayadère” periodically returns to the Paris Opera stage with its fakirs, idols and opium dreams.

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Mirror Images
REVIEWS | Karen Hildebrand

Mirror Images

A carousel spins in the middle of the grassy area outside Colonels Row on Governors Island. For the next three hours, mirrored vertical bars that form a cage on the spinning structure will reflect changing light, flashes of audience faces, and the green of surrounding trees, as late afternoon settles into dusk.

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An Artless Caravaggio

An Artless Caravaggio

The life of artist Michelangelo Merisi da Caravaggio (1571-1610) is ripe for dramatic interpretation.

Performance

Ballet Company and Orchestra of the Teatro Massimo di Palermo: “Caravaggio” by Mauro Bigonzetti

Place

Teatro Massimo di Palermo, Italy, June 21, 2026

Words

Garth Grimball

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A Class Act
REVIEWS | Faye Arthurs

A Class Act

A ballet career necessitates lifelong scholarship. Professionals take a daily technique class that begins with the same pliés at the barre as absolute beginners. Most days at the School of American Ballet, New York City Ballet members are tucked into in a corner of the studio, honing their tendus alongside the top divisions.

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Liminal Moves
REVIEWS | Rachel Howard

Liminal Moves

Jessica Lang is smack in the middle of a three-year stint as resident choreographer at Seattle’s Pacific Northwest Ballet. It’s an excellent artistic match that deserves to be followed closely, because both Lang and PNB merit a higher national profile.

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Golden Hour

Golden Hour

The close-knit ballet scene in San Diego was dealt a blow when California Ballet, the company Maxine Mahon founded in 1968, folded in 2020. Insiders tell me the pandemic wasn’t entirely...

Performance

Golden State Ballet: “The Four Seasons” by Houston Thomas / “A Midsummer Night's Dream” by Raul Salamanca

Place

Balboa Theatre, San Diego, California, June 7, 2026

Words

Robert Steven Mack

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