Too Good to be True
When we think of countries that have shaped the world of dance our mind will often drift to the United States, Russia, or Germany. But what of Luxembourg?
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Looking Forward
In times of rapid change, predicting the road ahead can seem to be a fool’s errand. But on a spring afternoon at Lincoln Center, I feel confident in this assertion: the future of dance is very bright.
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Happy Days
The programme of the Paris Opera Ballet School’s annual show for 2026 is shaped by a return to origins. Compared with recent editions, what stands out is its pronounced tendency to look backwards, less through canonical classics than through the recreation of an idealised past.
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Here's to You, Morricone
Aterballetto, the main contemporary company in Italy (now a national choreographic centre), made a hit two years commissioning a new creation by Marcos Morau: “Notte Morricone” (Morricone Night). The Spanish director and choreographer has become one of the most in demand dance
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A Dream Life
March in Hong Kong concluded with an extraordinary week of flowers. In Victoria Park, the annual Hong Kong Flower Show was pitched.
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Hearts and Arrows
The work of the late Frederick Ashton is less often revived in the United States than it is in Great Britain.
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Bright Stars
Misty Copeland makes an observation. “I see,” she says, looking into the audience packed with attendees in formalwear, “a lot of people who care about ballet.”
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Strings Section
Chamber music can be fun, too! That, at least, is the apparent message that violinist Johnny Gandelsman is trying to spread in his two-hour program, “Johnny Loves Johann.” He’s certainly not wrong.
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For Old Times’ Sake
What makes a story stick across not just decades, but millennia? The longevity of ancient Greek drama points to an innate essentiality, but the variations of these works, too, have played a critical role in its durability.
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Double Happiness
Five years ago Oakland Ballet launched its Dancing Moons Festival as a way to highlight Asian American and Pacific Islander choreographers in response to the surge of anti-AAPI hate during the height of the coronavirus pandemic.
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Healing Together
Gibney Company’s season at the Joyce Theater was full of common threads, promising beginnings, and lingering energy.
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Steps in the Street
It seems fitting that as the world held its collective breath over violent threats from the US White House, the Martha Graham Dance Company would perform “Chronicle,” an anti-war statement from 1936, as the centerpiece for the opening of its New York City Center season.
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Tranquil Intrigue
The title of this dance interpretation of The Tempest highlights a notable departure from canon. In “We Caliban,” Shobana Jeyasingh imagines Shakespeare’s titular native in the collective sense—a tribe, a spirit and a place at once.
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Firebird Rising
Long 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.
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It 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.
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Too Good to be True
When we think of countries that have shaped the world of dance our mind will often drift to the United States, Russia, or Germany. But what of Luxembourg?
Continue Reading
Looking Forward
In times of rapid change, predicting the road ahead can seem to be a fool’s errand. But on a spring afternoon at Lincoln Center, I feel confident in this assertion: the future of dance is very bright.
Continue Reading