World-class review of ballet and dance.
Marie Antoinette is not an entirely sympathetic character. Her penchant for luxury and extravagance—and the degree to which she was out of touch with the lives of the majority— made her a symbol of the wealth disparity that prompted the French Revolution.
Continue ReadingA lone musician stands at the corner of the darkened stage. His shakuhachi (bamboo flute) echoes, melancholy, as the sound of an ominous wind rises.
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Ascending the Guggenheim Museum's rings through Rashid Johnson's retrospective, “A Poem for Deep Thinkers,” is a dance in of itself.
Continue ReadingUshering in the ninth season of Dance at the Odyssey, which takes place January 8–February 16 at the Odyssey Theatre Ensemble and features a number of cutting-edge choreographers and world premieres, curator, producer and festival co-founder Barbara Müller-Wittmann adores her job.
Continue ReadingWill Tuckett’s new production of the “The Nutcracker” for the National Ballet of Japan serves up a holiday feast for the senses. Sweetly invigorating, it’s also a warm toddy for the soul. From start to finish, Tuckett’s “The Nutcracker” is truly a dream.
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Marie Antoinette is not an entirely sympathetic character. Her penchant for luxury and extravagance—and the degree to which she was out of touch with the lives of the majority— made her a symbol of the wealth disparity that prompted the French Revolution.
Continue Reading
Ascending the Guggenheim Museum's rings through Rashid Johnson's retrospective, “A Poem for Deep Thinkers,” is a dance in of itself.
Continue Reading
A lone musician stands at the corner of the darkened stage. His shakuhachi (bamboo flute) echoes, melancholy, as the sound of an ominous wind rises.
Continue Reading
“Birth + Carnage” is a fantastic title. The premise behind this show, which premiered at LaMama Experimental Theater Club at the end of December, was exciting too.
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In 2017, David Bintley—Birmingham Royal Ballet’s then-director—adapted Sir Peter Wright’s much-loved 1990 production of “The Nutcracker” for London’s Royal Albert Hall.
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This program of three works by William Forsythe set to the music of James Blake has special meaning for La Scala Ballet.
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Ushering in the ninth season of Dance at the Odyssey, which takes place January 8–February 16 at the Odyssey Theatre Ensemble and features a number of cutting-edge choreographers and world premieres, curator, producer and festival co-founder Barbara Müller-Wittmann adores her job.
Continue Reading
Around this time of year, we can all use a little cheer. The early darkness, the cold, the state of the world alone can send one into a spiral.
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Will Tuckett’s new production of the “The Nutcracker” for the National Ballet of Japan serves up a holiday feast for the senses. Sweetly invigorating, it’s also a warm toddy for the soul. From start to finish, Tuckett’s “The Nutcracker” is truly a dream.
Continue Reading
Between New York City Ballet’s “George Balanchine’s The Nutcracker®” and “The Magic Flute” at the Metropolitan Opera, it’s hard to compete with the Upper West Side’s holiday kid offerings.
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The Sun King not only invented ballet in its modern form but in 1713 also founded the oldest ballet academy in the world.
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The Choreographic Platform Austria (CPA) held in Salzburg from 20–22 November 2025, has become a biennial focal point for contemporary dance in Austria.
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It’s “Nutcracker” season at San Francisco Ballet—36 performances packed into three weeks—which means that the company is currently serving two distinct audiences.
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Last week I caught up with choreographer Pam Tanowitz and Opera Philadelphia’s current general director and president, countertenor Anthony Roth Costanzo to talk about “The Seasons,” the company’s latest production premiering at the Kimmel Center’s 600-plus seat Perelman Theater on December 19.
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If Notre-Dame remains one of the enduring symbols of Paris, standing at the city’s heart in all its beauty, much of the credit belongs to Victor Hugo.
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When dancer and choreographer Marla Phelan was a kid, she wanted to be an astronaut. “I always loved science and astronomy,” Phelan said.
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Sans tutu or pointe shoes, New York Ballet principal Sara Mearns delivered a knock-out punch in her 20-minute solo, “Zebra.”
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Japan Society’s Yukio Mishima centennial series culminated with “Mishima’s Muse – Noh Theater,” which was actually three programs of traditional noh works that Japanese author Yukio Mishima adapted into modern plays.
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Throughout the year, our critics attend hundreds of dance performances, whether onsite, outdoors, or on the proscenium stage, around the world.
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On December 11th, the Alvin Ailey American Dance Theater presented two premieres and two dances that had premiered just a week prior.
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