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REVIEWS | By Sara Veale

Modern Landscapes

Sadler's Wells first started appointing associate artists a decade ago, and the prestigious title has evolved into a distinct badge of influence: Sadler's associates don't simply add to the landscape of contemporary dance; they decide where its borders will extend to next. This bill features new commissions from Kate Prince, Crystal Pite and Hofesh Shechter—three current associates whose bodies of work vary wildly in tone but each place a premium on wit and seeking out the humanity in the subjects they cover. The showcase is an illuminating snapshot of the mutable nature of contemporary dance and the diverse territories the...

REVIEWS | By Victoria Looseleaf

In the Name of Freedom

He’s racked up some of the arts’ most prestigious awards, including the MacArthur “genius” grant in 2013, a “Bessie,” and in 2012 he not only received the Jacob’s Pillow prize, but was also named the newly appointed New York Live Arts Resident Commissioned Artist for 2012–2014.

REVIEWS | By Oksana Khadarina

Dark Angel

Saturday, January 24, was a big day for New York City Ballet as they held their annual birthday celebration for George Balanchine, called “Saturday at the Ballet with George,” which concluded with an evening bill that featured three timeless works from the great ballet master—“Serenade,” “Agon” and “Symphony in C.”

REVIEWS | By Oksana Khadarina

La Valse

On Saturday, January 24, New York City Ballet celebrated in style the 111th anniversary of company co-founder and choreographer George Balanchine, who was born on January 22, 1904. This was NYCB’s fifth annual birthday celebration for Mr. Balanchine, dubbed “Saturday at the Ballet with George,” and the festivities featured two all-Balanchine programs (2 p.m. and 8 p.m.) as well as other events, including live music performances by members of the NYCB orchestra and movement workshops for adults and children.

REVIEWS | By Sara Veale

The Superfluous Man

With its tortured romance and soaring choreography, John Cranko’s “Onegin” feels right at home on the Royal Opera House stage. Cranko famously toyed with Pushkin’s plot when adapting the poet’s nineteenth-century verse-novel into a ballet back in 1965; even more famously he passed over Tchaikovsky’s opera “Eugene Onegin” when choosing his score, instead setting his work to a mish-mash of lesser-known Tchaikovsky variations. An element Cranko preserved from both works, however, was the pathos that cloaks Tatiana’s eventual rejection of Onegin—something the Royal Ballet takes to new heights here with an inspired and heart-wrenching final scene.

INTERVIEWS | By Penelope Ford

Identity Questions

Choreographer and dancer Victoria Chiu is a Melbourne girl. She doesn’t speak a Chinese language and the closest thing she has to a Chinese cultural ritual, she says, is the odd weekend yum cha session. Nonetheless, the question she is often asked, do you speak Chinese? forms the basis of her new work. Developed in collaboration with dancer Kristina Chan, “Do You Speak Chinese?” explores the many ways our bodies speak for us, often before we’ve even had a chance to open our mouths.

REVIEWS | By Sara Veale

A Warm Welcome

Gymnastics, silk fans, cups of tea, creepy masks—there's a slight whiff of performance art to this eclectic triple bill, which marks the first ever UK performance for K-Arts Dance Company, the Korean National University of Arts' resident professional troupe. The approach is more playful than pretentious: you get the sense there's an implicit wink accompanying the antics here, one that invites the odd laugh and seeks to endear rather than distance the audience.

REVIEWS | By Victoria Looseleaf

Small Steps Giant Leaps

Los Angeles, a town that loves the business of movies, television, pop music—and now art, with high-end galleries and museums flourishing—has a reputation for being notoriously inhospitable to homegrown concert dance. Presenters and venues are sorely lacking, and, indeed, the paper of record, the Los Angeles Times, rarely covers the local dance scene anymore.

REVIEWS | By Sara Veale

Facing the Music

Music rarely takes a backseat to choreography for Richard Alston. The choreographer—a staple to Britain's modern dance scene and artistic director of Richard Alston Dance Company—is well known for crafting a symbiotic relationship between song and dance, his rep full of pieces in which these elements drink from and breathe life into one another in equal measure.

REVIEWS | By Oksana Khadarina

Chopin: Dances for Piano

The Mariinsky Ballet’s program, “Chopin: Dances for Piano,” which concluded the company’s season at the Brooklyn Academy of Music in New York, offered a sampler of three ballets, all set to Chopin’s piano music and created in different time periods: Michel Fokine’s “Chopiniana” (1908), Benjamin Millepied’s “Without” (2011) and Jerome Robbins’ “In the Night” (1970).

REVIEWS | By Oksana Khadarina

Swan Queen

A performance of “Swan Lake” by the Mariinsky Ballet is always an event in its own right. For 120 years this ballet has been a permanent fixture of the company’s repertory and a box-office magnet—the embodiment of the Mariinsky’s unique brand and style.

REVIEWS | By Victoria Looseleaf

Electric Blue

Louise Lecavalier, erstwhile muse and star dancer of Édouard Lock’s Montréal-based troupe, La La La Human Steps from 1981 to 1999, rocks a hoodie and workout pants like nobody else. And while her expressive face and fastidious technique were the ideal vessel for Locke’s quicksilver choreographic vocabulary—her signature air pirouettes gasp-worthy—Lecavalier, now an astonishing 56 and mother to 12-year old twin girls and still a hoofing tsunami, has also thrown her chapeau into the choreography ring. (The Montreal native founded her own troupe,Fou Glorieux, in 2006.)

Featured Reads

REVIEWS | Lorna Irvine

Teenage Angst and Institutions

Watching 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,...

INTERVIEWS | Marina Harss

The Me of Today

The choreographer Alexei Ratmansky reflects on the war in Ukraine, the connection between geopolitics and ballet, and joining the house of Balanchine.

REVIEWS | Rachel Howard

Starry Nights

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.

REVIEWS | Faye Arthurs

America, F**K Yeah

After 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.

REVIEWS | Emily May

Acosta Danza’s Choreographic Soup

An “Ajiaco” is a type of soup common to Colombia, Cuba, and Peru that combines a variety of different vegetables, spices, and meats.