Serata Forsythe
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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World-class review of ballet and dance.
This program of three works by William Forsythe set to the music of James Blake has special meaning for La Scala Ballet.
FREE ARTICLEWill 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 ReadingBetween 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.
Continue ReadingThe Sun King not only invented ballet in its modern form but in 1713 also founded the oldest ballet academy in the world.
Continue ReadingThe Choreographic Platform Austria (CPA) held in Salzburg from 20–22 November 2025, has become a biennial focal point for contemporary dance in Austria.
Continue ReadingIt’s “Nutcracker” season at San Francisco Ballet—36 performances packed into three weeks—which means that the company is currently serving two distinct audiences.
Continue ReadingIf 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.
Continue ReadingSans tutu or pointe shoes, New York Ballet principal Sara Mearns delivered a knock-out punch in her 20-minute solo, “Zebra.”
Continue ReadingJapan 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.
Continue ReadingOn December 11th, the Alvin Ailey American Dance Theater presented two premieres and two dances that had premiered just a week prior.
Continue ReadingThe “Contrastes” evening is one of the Paris Opéra Ballet’s increasingly frequent ventures into non-classical choreographic territory.
Continue ReadingI’m in the audience of the Pit to watch Kaori Ito’s solo performance, “Robot, l'amour éternel.” It’s in the blackbox performing space at the New National Theatre Tokyo, intimate and close. The stage is an open, raised platform, gauzy white fabric covering the floor.
Continue ReadingWatching Matthew Bourne's reworked version of the “star-cross'd lovers,” I was briefly reminded of Veronica, played by Winona Ryder, in the dark 1988 comedy by Daniel Waters and Michael Lehmann, Heathers, and her line, “my teen angst bullshit has a body count.” Yes, this is the darker side of Bourne's repertoire,...
Continue ReadingThe choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.
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Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.
Continue ReadingAfter a week of the well-balanced meal that is “Jewels”—the nutritive, potentially tedious, leafy greens of “Emeralds,” the gamy, carnivorous “Rubies,” and the decadent, shiny white mountains of meringue in “Diamonds”—the New York City Ballet continued its 75th Anniversary All-Balanchine Fall Season with rather more dyspeptic fare.
Continue ReadingAn “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.
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