World-class review of ballet and dance.
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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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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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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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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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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Today I have the privilege of speaking with the divine Juliet Doherty. Juliet was born in Albuquerque, New Mexico, which is slightly more Breaking Bad than “Swan Lake,” but Juliet's grandparents owned a ballet studio which passed to Juliet's mother, and so the artistic genes ran deep.
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One of the gems of New York City’s dance landscape is the Graham Studio Series, a programming cycle that offers behind-the-scenes interaction with the work of the Graham Company in their studio space. In early January, the series presented a Graham Deconstructed event exploring Martha Graham’s modernist masterwork “Cave of the Heart.”
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Repertory Dance Theatre’s “Emerge” had the feel of a dance studio recital, for better and for worse. The annual showcase, designed to emphasize the robust dance community in Utah—which does, by the way, exist—had a warm, familiar feel, but lacked sufficient pedigree for a company of RDT’s caliber.
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In today's episode we speak with superstar Dr. Brandi Cole. You may have seen Dr. Brandi on your screens as she worked to keep the Matilda's on the field during the Women's World Cup in 2023, and then at the Paris Olympics.
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The Martha Graham Dance Company performed two of its Greek myth-themed works at Philadelphia’s Suzanne Roberts Theatre over the weekend.
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Although Arlene Croce was not a trained dancer (her afterschool arts training in childhood was as a painter) she took dancing seriously as both an occasion for pleasure and a cultural endeavor, and she took writing about it to be a serious cultural action as well, at least as important to the mental health of the public as some of the verbiage by politicians and their editors.
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Talking Pointes, the podcast that shines a light on life in dance and the performing arts, is back for a fourth season.
FREE ARTICLEWatching 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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