The crowd is the first thing I notice in the Trisha Brown Dance Company’s 2016 performance of “Figure Eights” as...
More than three decades at the helm of San Francisco Ballet has sharply attuned Helgi Tomasson to the political mood...
Alexei Ratmansky’s “The Fairy’s Kiss” is a captivating piece of dance storytelling, fusing genres of fairy tale, mystery, and romance to powerful effect. Set to Igor Stravinsky’s enchanting score and replete with gripping choreographic imagery, it’s a masterfully-crafted and thought-provoking ballet in which Ratmansky’s talent of making dance as a vital, immediate, and engrossing theatrical experience shines through and through.
Your home is not your home. In its place, a dreamscape of flowers and snow, where dolls can transform into...
“The Bowie Project,” the brainchild of Austin-based choreographer Andrea Ariel, whose other credits include the choreography for the film Waiting for Guffman and a three-part dance-theatre series on the floating garbage patch in the North Pacific Gyre, was an exercise in personae, layering, fragmenting, and improvisation. The performance, which incorporated three dancers, the David Bowie tribute band the Super Creeps, and three members of New York’s Strike Anywhere Performance Ensemble, utilized Soundpainting, a “composing sign language” invented by musician Walter Thompson.
There could be no more auspicious moment for Suzanne Farrell to mark the closure of her ballet company than December 2017.
With the New York City Ballet future of her former partner Peter Martins very much in doubt, Farrell sent her dancers out onstage at the Kennedy Center last week to perform works she and Martins had often danced together, works created by the man who cast her out of his company after she rebuffed his proposal.
