World-class review of ballet and dance.
The lights dim and the mystical Eye of Horus commands our focus. Hieroglyphics and distinctive carvings flank the famous Egyptian symbol of resurrection as the overture swells and the drop curtain morphs into a portal to the past.
Continue Reading
Fresh from performing the concert version of George Balanchine’s “Who Cares?” at the Hollywood Bowl earlier this month, Los Angeles Ballet mounted a tribute to “American Icons” which included Jerome Robbins “The Cage,” Paul Taylor’s “Dilly Dilly,” and the return of artistic director Melissa Barak’s “Wavelength” for an evening at the Broad Stage in Santa Monica.
Continue Reading
Malandain Ballet Biarritz is approaching the end of an era. After nearly three decades at its helm, Thierry Malandain will hand over the direction of the Centre Chorégraphique National to Martin Harriague in January 2027.
Continue Reading
After a quiet August, the New York City dance calendar fills up almost impossibly quickly, with one particular program generating ample, and justified, hype. With its first program, New York City Center’s Fall for Dance Festival kick-starts the season with a jolt of energy.
Continue Reading
“Blue is the colour of the open sky, of water, freedom and depths we cannot fathom.” This is the mission statement for tonight’s bill from National Dance Company Wales, the first curated programme from new artistic director Bakani Pick-Up.
Continue Reading
Anne Teresa De Keersmaeker hit the Théâtre de Chaillot like a bomb, as “Rosas danst Rosas” took over the theatre for a sold-out run this September, bringing with it the irreverence of the Belgian avant-garde of the 1980s.
Continue Reading
Dance has always captivated me, but it very rarely grips me in the same way as the other things I like to watch—horror movies and cult documentaries—do.
Continue Reading
BalletMet has joined the ranks of ballet companies who have added a choreographic competition to their season.
Continue Reading
What form might radical compassion take? If you tease apart an acronym for cultivating mindfulness, and allow a herd of horses to gallop through the middle, what might arise?
Continue Reading
There’s not a whole lot that’s new in this programme of new works from Alvin Ailey, which I mean in the best way possible.
Continue Reading
So often, dancers are treated as vessels for a choreographer’s vision. Movements are imprinted on their bodies and they must, to the best of their abilities, convince the audience that they believe.
Continue Reading
There’s hot, and then there’s blistering, as was evidenced when “Flamenco! María Bermúdez Convivencias,” was presented to the nearly sold-out crowd at the Ford on Saturday night.
Continue ReadingLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
Continue ReadingIt is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
Continue Reading
The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Continue ReadingAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Continue ReadingOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
Continue Reading