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Pig Ghosts and the Irish Renaissance
INTERVIEWS | Eoin Fenton

Pig Ghosts and the Irish Renaissance

Oona Doherty is a choreographer that increasingly needs no introduction. The London-born Belfast native, who worked as a dancer across Europe, roared onto the scene as a choreographer with her solo work “Hope Hunt and the Ascension into Lazarus,” a searing examination of masculine culture that had the contemporary dance world abuzz.

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The Dancers Have It
REVIEWS | Sophie Bress

The Dancers Have It

In Ballet West’s most recent triple bill, which featured Jiří Kylián’s “Symphony of Psalms,” George Balanchine’s “Apollo,” and Nicolo Fonte’s “The Rite of Spring,” the dancers shone brighter than the choreographers.

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A Moving Prayer
REVIEWS | Karen Hildebrand

A Moving Prayer

In 1982, Bebe Miller made her debut as a dancemaker when Ishmael Houston-Jones invited her into his Parallels series that featured Black choreographers who were experimenting in new forms.

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A Little Treasure
REVIEWS | Lorna Irvine

A Little Treasure

The bubble machine is the first thing that hits you as you enter. There are bubbles everywhere. The second is the energy—families with babies and small children are crammed into every corner, bringing a kinetic force to the auditorium. It's pandemonium—all going off like popcorn in a pan.

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No Gray Areas

No Gray Areas

Programming, like staging and choreography, is an art, and Ángel Corella surpassed himself with all three in this early spring show featuring all new works.

Performance

Philadelphia Ballet: “Water Dances” by Stanton Welch / “Dance Card” by Russell Ducker / “Boléro” by Ángel Corella

Place

Academy of Music, Philadelphia, PA, March 20, 2025

Words

Merilyn Jackson

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Extreme Feats
REVIEWS | Emily May

Extreme Feats

In some ways, dance could be considered an extreme sport: it meets many of the same criteria, featuring (at times) high speeds, significant risk, and the potential for severe injury. French choreographer Rachid Ouramdane seeks to reinforce this parallel in his new work “Outsider,” which received its UK premiere at Sadler’s Wells on March 26th as part of Dance Reflections by Van Cleef & Arpels.

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Dance Hall
REVIEWS | Emily May

Dance Hall

Have they started or are they just practicing?” asks a gentleman sitting in the row behind me. It’s a fair question: students from Rambert School of Ballet nonchalantly execute their own sequences of repeated movements as the audience filters in, taking their seats on all four sides of the vast performance space.

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Child's Play
REVIEWS | Kris Kosaka

Child's Play

Co. Un Yamada, a dance company and creative collective established in Tokyo in 2002, returned to the New National Theatre Tokyo last week to reprise their popular family-friendly production from 2021, “Obachetta.”

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Beauty Reawakens

Beauty Reawakens

Vous les voyez, les étoiles dans la salle?” the woman next to me whispered as the lights dimmed. And indeed, the stalls glittered with former stars of the Paris Opéra...

Performance

Paris Opera Ballet: “Sleeping Beauty”

Place

Palais Garnier, Paris, France, March 8, 2025

Words

Elsa Simonetti

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A New Memory
INTERVIEWS | Candice Thompson

A New Memory

In 2017 Virginie Mécène reimagined the lost Martha Graham solo “Ekstatis.” A review from that Martha Graham Dance Company premiere ended with a strong vote of confidence from critic Gia Kourlas: “Ms. Mécène should keep going.”

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Arc of Life
INTERVIEWS | Karen Hildebrand

Arc of Life

On one of the first spring-like days this year in NYC, I arrive at Barnard College to observe rehearsal for John Jasperse’s new piece, “Tides,” which will open the LaMama Moves! Dance Festival on April 10.

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Lists of Promise

Lists of Promise

“Lists of Promise,” a new work currently in a two-week run from March 13- 30 at the East Village cultural landmark, Theater for the New City, promised more than it...

Performance

“Lists of Promise” by Ildiko Nemeth and Lisa Giobbi 

Place

Theater for New York City, New York, NY, March 13, 2025

Words

Karen Greenspan

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Heady Notions
REVIEWS | Karen Hildebrand

Heady Notions

“State of Heads” opens with a blaze of white light and loud clanking onto a white-suited Levi Gonzalez, part Elvis, part televangelist addressing his congregation. A pair of women sidle in—Rebecca Cyr and Donna Uchizono—dressed in ankle-length white dresses and cowered posture.

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Winning Works
REVIEWS | Róisín O'Brien

Winning Works

The late John Ashford, a pioneer in programming emerging contemporary choreographers across Europe, once told me that he could tell what sort of choreographer a young artist would turn into when watching their first creations.

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Ballet at 41° South
REVIEWS | Leila Lois

Ballet at 41° South

Last weekend, the Royal New Zealand Ballet hosted two nights of performance in collaboration with the Scottish Ballet at the St. James’ Theatre in Wellington, New Zealand. The bill included two works by choreographers affiliated with Scottish Ballet, and two by RNZB choreographers. There was welcome contrast in timbre and tempo, and common themes of self-actualisation and connection, through a love of dance. As RNZB artistic director Ty King-Wall announced in the audience address, the two-night only performance was in the spirit of “bringing the companies together in mutual admiration and respect.”

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Back to School
REVIEWS | Victoria Looseleaf

Back to School

Who knew that a PB & J sandwich could conjure Proust’s madeleine? Certainly not this writer. But it’s not farfetched to think that Lincoln Jones, the artistic director, choreographer and conceptual guru of American Contemporary Ballet, had the idea of memory in mind when he conceived “Homecoming.”

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Contemporary Embodiment of Korean Spirit

Contemporary Embodiment of Korean Spirit

The Korean Cultural Center New York presented the ChangMu Dance Company this past week and treated the public to an artistic gem. ChangMu Dance Company, currently with fourteen dancers, was...

Performance

ChangMu Dance Company

Place

Korean Cultural Center New York, NY, March 2025

Words

Karen Greenspan

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