World-class review of ballet and dance.
The elegant woman seated next to me at the Sunday matinee was excited to see Sara Mearns in “Slaughter on Tenth Avenue.” This was high praise, as she had fond memories of Suzanne Farrell and Arthur Mitchell in the piece—the ballet’s original 1968 cast.
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There seems to be no clear organizing principle behind the programs at the yearly Fall for Dance festival at New York City Center.
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The fall season at New York City Ballet, devoted to the works of Balanchine, has been full of débuts.
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If you’ve ever laughed at the wrong moment, or at a joke that wasn’t funny, or to break the tension, then you will appreciate the theme of Shannon Gillen’s “Punch Line,” performed by the physical dance theater group Vim Vigor, that opened the Gibney performance 2023-24 season in September.
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With a bang it begins, the explosion of a star, on stage at the Playhouse, Arts Centre. Bangarra Dance Theatre’s “Yuldea” has arrived on Wurundjeri Country (Melbourne) with a supernova to outshine entire galaxies, before heading to Bendigo, Djaara Country, for the final quivering leg and jutting arm of shifting gas and particles.
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Danielle Rowe on her international career, choreography, family life, and how she became the first female artistic director of Oregon Ballet Theater.
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Marking a centenary is always an occasion. And for the Martha Graham Dance Company, which was founded in 1926 and is the oldest dance troupe in America, the festivities have just begun.
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New York City Center's 80th anniversary features a fall dance season worth celebrating.
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From the moment the curtain rose, Queensland Ballet’s “Strictly Gershwin” dazzled.
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In just 17 years, artistic director Christine Cox has taken BalletX from a summer pickup project to a formidable choreographic factory.
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A virulent new strain of Covid is on the rise; democracy is in peril; and the war still rages on in Ukraine. But relief of the highest order came in the form of, “The Missing Mountain.”
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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.
Continue ReadingLong 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.
Continue ReadingIt 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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The Spring is Blooming festival, by Dance Reflections by Van Cleef & Arpels, now in its fifth year, has become a highlight of the spring dance circuit.
Continue ReadingAs the audience come to their feet at the end of this ballet there is a noted difference to be seen on stage. Three women stand with joined hands, taking their call as the romantic leads of a loud and proud lesbian ballet.
Continue ReadingOne of San Francisco Ballet’s greatest assets is its home venue, the Beaux-Arts style War Memorial Opera House, with four rings of seating that require performers to project their energies practically to the exosphere.
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