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FEATURES | By Josephine Minhinnett

Walk-on, Drop Dead, Exit

On a Wednesday afternoon in Toronto, I watched two former dancers, husband-wife duo Alisia Pobega and Louis-Martin Charest, work alongside a group of serious sixteen- and seventeen-year-old ballet dancers from Canada’s National Ballet School. Pobega crouches in one corner of the studio with half of the students rallied around her, speaking in low tones. Charest is on the opposite side of the room with his back to the mirrors, his dark hair barely perceptible above a crowd of ballet bodies clothed in leotards, loose t-shirts, and sweatpants. He draws the students in closer. They lean towards him, straining to hear....

REVIEWS | By Sara Veale

Going Platinum

Just a few beats after the curtain went down on English National Ballet’s roundly admired run of “Le Corsaire,” the company threw itself into another shiny production: a gala to celebrate its platinum anniversary. In 1950, ENB was an upstart troupe with a makeshift title (London Festival Ballet). Even with two marquee names attached—Alicia Markova and Anton Dolin, darlings of the Ballets Russes—the road to success was riven with financial pitfalls. Fast-forward 70 years, though, and ENB’s an immutable presence on the British stage, still rocking starpower on the mantle, with Tamara Rojo doubling up as artistic director/lead principal since...

REVIEWS | By Rachel Howard

Dancing in Unison

It is surely a measure of the dire American moment. In 20 years of watching the San Francisco Ballet, I cannot remember a single occasion when artistic director Helgi Tomasson has so much as alluded to societal tensions. But there he was pre-curtain at the opening gala of his company’s 87th season, explaining he had chosen to launch the evening with an excerpt from George Balanchine’s “Stars and Stripes” because “it has a way of reminding us in challenging times that despite our differences we are all Americans and art can bring us together.”

REVIEWS | By Lorna Irvine

An Icy Blast from the Past

An austere wind-chill cuts though the very heart of Christopher Hampson's new adaptation of the classic fairytale, “The Snow Queen.” This new piece, created for Scottish Ballet's 50th anniversary, immediately eschews any notions of cosy familiarity with Hans Christian Andersen's tale, sanding down the twee sentimentality, while adding bold new elements of cunning. In this incarnation, with its tweedy, grey anytown location, populated by the poor and the needy, magic is used to nefarious ends, all the while ultimately retaining romance and sparkle. It starts with playful sibling rivalry, becomes a chase scene in unknown territory, before landing in a heart-warming, traditional...

FEATURES | REVIEWS | By Faye Arthurs

Tappy Holidays

The Joyce Theater presented two festive tap shows this December: Dormeshia’s soulful “And Still You Must Swing” as well as a three-week residency by Dorrance Dance—featuring the premiere of a tap “Nutcracker Suite” to Duke Ellington and Billy Strayhorn’s funky arrangement of Tchaikovsky’s ubiquitous holiday score. Dorrance’s programming changes weekly, but each show closes with the new “Nutcracker.” This comes to 21 performances, far more than most regional ballet companies and even American Ballet Theatre (with 12). Could a tap company loosen ballet’s yearly stranglehold on this Christmas classic?

REVIEWS | By Faye Arthurs

New Work

“New Work for Goldberg Variations,” a collaboration between the pianist Simone Dinnerstein and the choreographer Pam Tanowitz, opened its weeklong run at the Joyce Theater Tuesday night. It is by far the best thing I’ve seen by Tanowitz. Her deconstructivism perfectly suits Bach’s score, which is itself a study in fragmentation: Bach took one aria and then reworked its elements through thirty different variations. I cannot think of a piece more apt for Tanowitz’s tinkering.

REVIEWS | By Rachel Elderkin

Romeo & Juliet Redux

“Radio & Juliet:” my uncertainty towards this work started with the title. Set to the music of Radiohead and based around scenes from Shakespeare’s Romeo & Juliet, the name felt ominously uninventive—but then titles are rarely a strong point in dance.

REVIEWS | By Veronica Posth

A Show of Strength

There were high expectations for Staatsballett Berlin’s double bill featuring two well-known choreographers, Alexander Ekman and Sharon Eyal. “Lib,” which stands for Liberty, by Alexander Ekman is a collaboration with hair designer and artist Charlie Le Mindu: In fact, the evening opens with a man wearing a long vertical wig on his head, seated in the auditorium, while the spectators take their places. The performance has already started but only some realise it. He slowly and casually moves towards the stage and once there he entertains with some foolish movements and poses. Then, one by one, four graceful dancers enter...

REVIEWS | By Victoria Looseleaf

L.A. Dances Festival

Seeing dance up close and personal can be something thrilling—as long as the choreography and performers are up to terpsichorean snuff. That was mostly the case when the 12-member L.A. Dance Project performed Program C as part of its L.A. Dances Festival that ran for 10 days in November (Programs A and B ran September 26-October 25). A bold undertaking by the troupe founded by Benjamin Millepied in 2012, the festival featured six world premieres, 10 works and one revival.

REVIEWS | By Lorna Irvine

The Creative, the Curious and the Courtly

There are two very distinct strands to Richard Alston's choreography. The first is a provocative, experimental path, where Alston's eccentric musical choices dictate the shifts and twists within. The second is a more classical, traditional route. Yet, both are never too sentimental or frilly, in spite of the craftsmanship. His is a “get on with it” approach, and there is an enormous amount of heart and humour, so it's really heartbreaking to think there have been recent cuts to the company, and they're winding down.

REVIEWS | By Lorna Irvine

A Haunting

At once an art installation and dance piece, “Ghost Dimensions” cannot easily be pigeonholed or put into neat niche categories. It works almost like a puzzle, split into two halves with the incredible design by Tseliso Monaheng projected onto two sheets. It’s all about duality. These two component parts can be experienced by the audience in one sitting from one side of the room, or explored around the other. One side is rendered in neon colours, showing cityscapes, obscure figures and trees; the other is in negative like a reversal of the production. Both sides of the images meet up...

REVIEWS | By Sara Veale

Remembering Merce

Merce Cunningham would have turned 100 in 2019, a centennial that’s seen institutions around the world flock to commemorate the prodigious American choreographer. There have been exhibitions, seminars, master classes and of course performances, including the ambitious “Night of 100 Solos,” commissioned by the Merce Cunningham Trust and featuring 75 artists dancing in tandem across three cities.

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.