Winter Lake Effects
On the eve of George Balanchine’s birthday, the New York City Ballet opened its Winter Season with a killer all-Balanchine program: “Concerto Barocco,” “Allegro Brillante,” and “Brahms-Schoenberg Quartet.”
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Love and Lust
The connection between relatively new artistic director Tamara Rojo and longtime San Francisco Ballet fans has felt a little tenuous as the former Royal Ballet star and English National Ballet leader launches her second season programmed here on the West Coast.
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Brooke Cassen, Back in the Studio
Today we have the pleasure of speaking with former Australian Ballet dancer Brooke Cassen. On Season Three of Talking Pointes, I spoke with Brooke on what became one of our most listened-to episodes of all time.
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Inner Fire
New Yorkers who don’t have a fireplace during this deep January freeze can head to the Joyce Theater to see Ronald K. Brown’s Evidence A Dance Company, where the russet backdrops, rolling hips, and reggae beats give off plenty of warmth.
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New Voices from Japan + East Asia
Japan Society presented its 20th showcase of contemporary dance with works from emerging choreographers in East Asia over a mid-January weekend.
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On Endurance
In a four-day span of early January I saw: Monica Bill Barnes wrestle a giant beach ball at Playwrights Horizons; Malcolm-x Betts and Nile Harris shoot blanks into the rafters of the Chocolate Factory in honor of Judith Jamison’s spirit; Symara Sarai run in and out of a swirling lasso at New York Live Arts Studios; and Angie Pittman dart across a shallow stage, in character as a vampire, cape flying, at BAM Fisher Hillman Studio in a shared bill with Kyle Marshall Choreography. In short, it was APAP season.*
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A Century of Moderns
Sara Veale’s new book Wild Grace: The Untamed Women of Modern Dance (Faber & Faber) examines the lives of nine boldly subversive dancemakers over nearly a century, starting with Isadora Duncan and ending with Pearl Lang. Along the way, it provides a pared but potent mini-history on the emergence of women’s rights.
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Mighty Peace
No matter the theme, an evening with David Dorfman Dance is likely to uplift. The gregarious choreographer has a habit of engaging with the audience pre and/or post show with energy approaching that of a church revival gathering.
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Answering the Calls
One of the first dances I reviewed for Fjord was Jack Ferver’s hilarious yet penetrating “Everything is Imaginable” at New York Live Arts. It featured a series of solos in which accomplished dancers from different genres portrayed their childhood idols.
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A Glittering Cinderella
There’s a steady unity of vision in Tetsuya Kumakawa’s production of “Cinderella,” first staged by K-Ballet Tokyo in 2012.
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Fighting Spirit
There’s a distinct warrior theme to the evening shared by Angie Pittman and Kyle Marshall, though the two choreographers are working in very different styles and tone.
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All the World on Stage
It’s not often these days that aspiring dancers and smaller companies can enjoy the luxury of state-of-the-art facilities to develop their practice and put on a show, especially in a capital city.
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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,...
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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.
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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.
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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.
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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.
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