World-class review of ballet and dance.
The Dance Theater of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past.
Continue ReadingDespite the fact that dance and music are often regarded as inextricably linked, it remains astonishing to experience the work of a choreographer who channels the score particularly well—or a group of dancers who embody it especially organically. Repertory Dance Theatre’s 58th season closer, “Gamut,” happened to have both.
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The legendary Cuban dancer Carlos Acosta trained relentlessly to come out of retirement last year for a performance of classical works in celebration of his 50th birthday at the Royal Ballet, where he spent most of his professional career.
FREE ARTICLEOne might easily mistake the prevailing mood as light-hearted, heading into intermission after two premieres by Brenda Way and Kimi Okada for ODC/Dance’s annual Dance Downtown season. Maybe this is just what we need to counter world events, you may think. But there is much more to consider beneath the...
Continue ReadingIf there’s anybody who embodies ‘rizz’—charisma in today’s coolspeak—it’s dancer, choreographer, and filmmaker Benjamin Millepied.
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The legendary Cuban dancer Carlos Acosta trained relentlessly to come out of retirement last year for a performance of classical works in celebration of his 50th birthday at the Royal Ballet, where he spent most of his professional career.
FREE ARTICLE
The Dance Theater of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past.
Continue Reading
Despite the fact that dance and music are often regarded as inextricably linked, it remains astonishing to experience the work of a choreographer who channels the score particularly well—or a group of dancers who embody it especially organically. Repertory Dance Theatre’s 58th season closer, “Gamut,” happened to have both.
Continue Reading
If there’s anybody who embodies ‘rizz’—charisma in today’s coolspeak—it’s dancer, choreographer, and filmmaker Benjamin Millepied.
Continue Reading
One might easily mistake the prevailing mood as light-hearted, heading into intermission after two premieres by Brenda Way and Kimi Okada for ODC/Dance’s annual Dance Downtown season. Maybe this is...
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It’s not every choreographer who works with economists, anthropologists, neuroscientists and cognitive scientists, not to mention collaborating with the Google Arts & Culture Lab and the Swedish pop group ABBA, but Wayne McGregor wouldn’t have it any other way.
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Dance scholars have been remarking on the great Trisha Brown nearly from the day she first stepped into Robert Dunn’s class—the genesis of Judson Dance Theater—in the 1960s.
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The prolific drummer Max Roach would have been 100 years old on January 10, and all around the world, admirers have been celebrating.
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Generally, a production of “Swan Lake” is only as good as its Odette and Odile, symbolic of the duality of nature. So, it’s wonderful to see Sophie Martin back, dancing one of her signature roles. She's predictably brilliant.
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The Nederlands Dans Theater has been coming to City Center since 1968. The company’s associations with edgy choreographers like Jiri Kylian, Crystal Pite, William Forsythe, and Ohad Naharin have made for some thrilling performances over the years.
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There may not be a direct correlation between bibliophiles and lovers of Butoh— the Japanese modern dance form created as a response to the bombing of Hiroshima that is sometimes referred to as the Dance of Darkness—but it’s safe to say that there never has been—nor will there ever be—a bookworm, literally, quite like Oguri.
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Reading up on the backstory of how Alejandro Cerrudo’s “One Thousand Pieces” finally made it to the stage at Pacific Northwest Ballet, one is struck by the epic commitment the company lavished upon an epically scaled dance.
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Created by Scottish Dance Theatre’s artistic director Joan Cleville, and filmed in one long, continuous take by digital artist Tao-Anas Le Thanh, “The Life and Times” is inspired by amongst other Baroque works, the Diego Velazquez’s painting, Las Meninas, which invites the viewer to observe the painter in his studio, flanked by a group of sumptuously attired models.
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Doug Varone is known for the masterful way he moves groups of people around onstage, yet he may have outdone himself in his latest work, “To My Arms/Restore.”
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There's an almost disarming delicacy to Curious Seed's work, as evinced by this beautiful, Herald Angel Award-winning production, “And The Birds Did Sing” Christine Devaney, dancing solo for the entire...
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I went to see “Illinoise” on its last day at the Park Avenue Armory. The Justin Peck production was already set to move to Broadway, and Sufjan Stevens fans were already ecstatic: the singer-songwriter’s deeply felt, ingeniously conceived 2005 album Illinois is not only the impetus and origin of the Peck dancical but also its libretto and score, with a group of wondrous winged singers and multi-instrumental musicians scaffolded above the stage performing the album in its overwhelming entirety, though re-arranged a bit and shuffled.
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
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Entering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music.
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In her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
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Six dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
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