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REVIEWS | By Candice Thompson

Cue Landscape

As I walked in the blazing early evening sun to the subway this past Monday evening, I wondered how the performers of Andrea Miller’s “You Are Here” would fare in such heat. As if to immediately put my mind to rest, the show began with instant catharsis as the dancers plunged into the large rectangular pool upon entering Lincoln Center’s Hearst Plaza. In unison, they stomped and hopped their way through the water, clasping their own hands together, arms slashing to a driving beat. The steps had a folk dance feel, and their motions felt intentional, grounded, almost sacred. A...

REVIEWS | By Rachel Howard

Tahoe Dance Camp

A recent Dance Data Project survey reports what everyone in the ballet world knows: Women are grossly under-represented in ballet leadership. Just one of the top 10 largest ballet companies in the U.S. is led by a woman, and only 30 percent of the top 50 companies are. Retiring ballerinas, we know, are far more likely to become ballet mistresses and school faculty than artistic directors.

TALKING POINTES | Claudia Lawson

Lana Jones Gives Back

Lana Jones' journey in ballet seems like the dream run for many aspiring youngsters. As a teenager, she won the silver medal at the international ballet competition, the Genée Awards in London, was accepted into the Australian Ballet School, graduated dux and was accepted straight into the company. From there, the dream continued. She rose through the ranks, won the Telstra Ballet Dancer of the Year Award, married a fellow dancer and was promoted to Principal.

TALKING POINTES | Claudia Lawson

David McAllister's Finnish Odyssey

David McAllister is probably the most well-known face of dance in Australia. He was born in Perth and he was accepted into the Australian Ballet School as a 17-year-old. He graduated and joined the company directly, wowing crowds across the globe. His final performance was in “Giselle” in 2001. And then, three months later, he was named Artistic Director of that same company.

BOOKSHELF | INTERVIEWS | By Marina Harss

In his New Memoir, Center Center, James Whiteside Doesn’t Mince Words

If you’re wondering what James Whiteside, principal dancer at American Ballet Theatre, did last year during the pandemic, here’s the answer: he wrote a book. How does that make you feel about your own productivity? Well, Whiteside isn’t one to waste time. His new book, which goes on sale in August, is a memoir, with the very clever title Center Center. Center center, in Whiteside’s words, is the name for “a mark on every stage around the world that signifies the center of its depth and width.” This, naturally, is where he aimed to be from a very young age....

OTHER | By Sophie Bress

Digital Transformation of Dance

When Covid-19 swept the globe in early 2020, businesses and organizations across the board were left scrambling. The performing arts sector—heavily reliant upon live, in-person events for revenue—was left with a void, both artistically and financially. This resulted in a rapid shift to digital content in an effort to remain viable. Now, after over a year of modified and predominantly virtual programming, Fjord Review takes a look back to analyze how dance companies pivoted to adjust to a new reality.

REVIEWS | By Victoria Looseleaf

Dances at Dusk

To say that it was a joy to see live dance again after some 16 months is an understatement. And seeing San Francisco-based Alonzo King LINES Ballet in the final offering of the Music Center’s al fresco “Dance at Dusk” series, proved to be the cherry on the quasi-post-pandemic cake. Although we are not out of the Covid woods yet—Los Angeles has reinstated its indoor mask mandate and the Delta variant is on the rise—being socially distanced in pods of four on the Jerry Moss Plaza, made for a perfect blend of art, community and, well, safety.

TALKING POINTES | Claudia Lawson

Talking Pointes

Talking Pointes is a ballet and contemporary dance podcast that interviews some of the most extraordinary and famous dancers, artistic directors and choreographers. In our 2021 season we’re bringing together ten beautiful interviews to explore not just the inspiration and careers of our guests, but all the other stuff that surrounds dance—inspiration, regrets, bullying, body image, sexuality, retirement, lifelong friendships and even how to start a new career when the curtains finally close.

FEATURES | By Cecilia Whalen

Human Touch

With eyes closed, Blakeley White-McGuire and Daniel Fetecua Soto felt stones on their bare feet and the sun on their cheeks, but most of all, they felt each other. Taking turns guiding as the other moved blindly, the modern dance stars made their way through the Sacred Labyrinth on Block Island, RI, and into “The Tongue of the Flame,” what would become their new intimate dance theater duet.

DANCE FILM | REVIEWS | By Lorna Irvine

Humans Remain

In 1975, Laura Mulvey first came up with the term “the male gaze,” where the assumption, particularly within the media, was that those consuming and watching most art forms were male, or male identifying, hence the need for women being represented as mere window dressing and sexually appealing objects. This was largely ubiquitous in film, art, pop videos and on fashion runways—even in dance productions. However, with strides being made in contemporary society in recognising that gender is largely a construct, and that it's no longer about male and female, but rather than gender can also be trans, fluid and/or...

REVIEWS | By Valentina Bonelli

A Dance of Seduction

The long-awaited “Don Juan” by Johan Inger for Aterballetto has at last found its way on a national and international tour. Due to the first Italian lockdown, the creation of the new ballet was suspended and postponed and when it finally premiered, last autumn, it had only two performances: a preview in Reggio Emilia, the city where Aterballetto is resident, and an official debut in Ferrara. An important stop in this year's new tour was in Ravenna, at the renowned festival founded by Riccardo Muti’s wife. Performed indoor at Alighieri Theatre, a beautiful “teatro all’italiana,” “Don Juan” had two performances,...

REVIEWS | By Faye Arthurs

Animals & Angels

“Animals & Angels,” the new pas de deux by #QueertheBallet founder Adriana Pierce, is so pretty and easygoing you almost forget how radical it is. The piece is under five minutes long and features two women, Cortney Taylor Key and Audrey Malek, wafting joyfully around an airy white loft. They beam affectionately at each other as Joy Oladokun sings the opening line of her song, “Animals & Angels:” “Would you like some coffee with a side of cream?” Suitably, Key has a on a cream-colored shirt with latte brown high-waisted pants, Malek sports the inverse. It’s all so pleasant and...

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.