World-class review of ballet and dance.
In John Cranko’s world, “if ballet only consisted of dance steps, it wouldn’t be worth dedicating your whole life to it,” and this sense of devotion is at the heart of Joachim A. Lang’s German-language film, John Cranko (2024).
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One of the hottest entities of Europe’s dance world is surely (La)Horde. A collective of three artists—Marine Brutti, Jonathan Debrouwer and Arthur Harel—the French theatrical trio could not be more on trend.
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Yellow caution tape dangles from the doorway to the Jerome Robbins Theater and ropes off every row of seats.
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The Trisha Brown Dance Company embarks on a national tour this June celebrating the centennial of avant-garde American visual artist Robert Rauschenberg.
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For Ballet Hispánico’s upcoming season at New York City Center from May 29-June 1, the company will present Gustavo Ramírez Sansano's “Carmen.maquia,” a contemporary take on the timeless story at the heart of George Bizet’s unforgettable opera “Carmen.”
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Angelina Laguna kneels on the sidewalk and places her body perpendicular to the flow of the First Avenue foot traffic.
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When the lights for “Opal Loop/Cloud Installation #72503” come up on four dancers silhouetted by refracted light of a billowing cloud of fog, the scene rivals halftime at the Superbowl.
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On a bright spring afternoon, as Paris basked in long-awaited sunlight and the city frantically moved in the heat, the Opéra Garnier opened a portal to another world—a realm of eternal forms, ethereal beauty, and blue distances: those trembling horizons where the sea dissolves into sky, and the eye reaches toward the infinite.
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What does it mean to devote your life to dance? Amy Sherman-Palladino and Daniel Palladino’s new streaming series, “Étoile,” which debuted April 24 on Prime Video, attempts to answer this question in a way that resonates with both dancers and general audiences. Not an easy task.
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Jennifer Archibald’s choreography credits extend from ballet companies to commercial work, reflecting her signature ability to blend classical dance with hip hop.
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Like many great roles, Balanchine’s Apollo is a character in constant evolution. Every male dancer who steps into it brings, or at least attempts to bring, something of himself.
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Nureyev and Friends, a recent tribute event at the Hong Kong Arts Festival, opened with an introduction from Charles Jude, the longtime protégé of Rudolf Nureyev at the Paris Opera Ballet.
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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