World-class review of ballet and dance.
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...
Continue ReadingThe 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...
Continue ReadingIf 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.
Continue ReadingTides 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.
Continue Reading
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.
Continue Reading
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.
Continue Reading
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.
Continue Reading
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...
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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 DeBartolo Performing Arts Center.
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This fall, Japan Society is celebrating the centenary of legendary Japanese post-war author Yukio Mishima (1925-1970) with a series of works in theater, film, and dance inspired by his oeuvre.
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Powerhouse: International, the newly launched arts festival in Gowanus, Brooklyn, continued its fall offerings with the multidisciplinary work “Fampitaha, fampita, fampitàna,” co-presented with L’Alliance New York’s Crossing the Line Festival.
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In an animation that is woven through the performances of traditional dances in Indigenous Enterprise’s “Still Here,” a young boy watches a video of powwow musicians and dancers with his...
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It was apropos that I attended choreographer Wanjiru Kamuyu’s latest work, “Fragmented Shadows,” just before Halloween.
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Making its long anticipated debut at Sadler’s Wells, “Figures in Extinction" is perhaps the brightest new feather in Nederland Dans Theater’s cap.
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The final program of American Ballet Theatre’s fall season, titled “Innovations Past and Present,” featured the world premiere of Juliano Nunes “Have We Met!?” as well as two company gems: Alexei Ratmansky’s “Serenade after Plato’s Symposium” and George Balanchine’s “Theme and Variations.”
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Miriam Miller steps into the center and raises her arm with deliberation, pressing her palm upward to the vaulted Gothic ceiling of the cathedral.
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In a series called “Just Dance” on Nowness—a site I sometimes visit to see what’s up in the world of “genre busting” dance films that make it onto this stylized...
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