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"Fjord Review serves as an indispensable resource for the world of dance. Contributors offer well written and researched comment on what everyone's talking about - and what we might have missed. Unexpected humor and honest candor can be found in every article, and the photography and art direction elevate dance to the place of reverence and relevance it deserves. Bravo, Fjord."
Peter Boal
Artistic Director, Pacific Northwest Ballet
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Fjord Review #7
Discover insightful conversations with prominent figures in the dance world, essays on ballet history and performances, reviews of leading ballet companies, and stunning dance photography in our latest issue.
184 pages. 7.25″ x 10″Description
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all articles
In the Wake of Yes
The title of Catherine Tharin’s latest production, “In the Wake of Yes,” is a reference to “Molly Bloom’s Soliloquy,” an inner monologue on womanhood and sexuality, from James Joyce’s Ulysses. Tharin matches the tone of this work as she picks up on an exuberant string of “yeses” from that text. Her witty series of dances explores romance and its complications. At the center of the show is a film by Lois Robertson that lifts the dancers out of the tiny East Village stage and transports them (and us) to scenes of contemporary New York City. Tharin, who danced with the...
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Character Act
Through its newly opened program, “Other Dances,” Dutch National Ballet kicks off the summer with a slate of lighthearted fare that varies in precise approach but altogether evokes an effervescent mood.
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Requiem for Humanity
Taking the historian’s long view, the message within “Last and First Men,” that “the whole duration of humanity, its evolution, and many successive species, is but a flash in the lifetime of the cosmos,” is, to me, ultimately a comfort.
Continue ReadingFor the Muses
While the ghosts of, among others, Judy Garland, Jack Benny and the cast of “All in the Family” might be haunting Television City’s soundstage 33 in Los Angeles, the dancers...
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Pure Moods
“Into the Hairy”—the 45-minute ballet by choreographer Sharon Eyal and her creative collaborator Gai Behar—sets the tone immediately. Dancers dressed in arachnid-like unitards have a severe look, with black eye makeup that drips intensely down their cheeks, gothic and dramatic.
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All Together Now
Transformation is inevitable—and necessary in order to persist. That’s a theme that runs through two new works staged by Rotterdam’s Scapino Ballet in “Origin,” a program focused entirely on emerging choreographic talent.
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A New Recipe
An apron-clad Marjani Forté-Saunders, spotlit on the steps of the St. Mark’s Church sanctuary, rocks from one bare foot to the other while swinging a brown paper bag, presumably filled with groceries.
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Partners in Sublime
For the most dynamic performers, artistry is an embodied quality. Whether through natural aptitude or diligent training—or most often, a combination of the two—the performer transcends the physical, choreographed act of their composition to present something that lingers outside the boundaries of their form.
Continue ReadingLincoln Jones, Serendipitous Moves
Talk about the marriage of music and dance! Following in the footsteps of George Balanchine, whose works with Igor Stravinsky stretched across decades, Lincoln Jones, artistic director and choreographer of...
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Casting Carousel
The New York City Ballet mounted no premieres this spring, unless you count the stage adaptation of Kyle Abraham’s Covid lockdown film “When We Fell.” Instead, the company drummed up hype by packing the season with debuts in dances both newish and old.
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Looking Back, Moving Forward
One of the most important questions for any director who inherits a dance company from its founding choreographer is how to keep the repertory alive.
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People, Places, and Things
Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
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Dancing the Gods
The annual Dancing the Gods Festival of Indian Dance celebrated its fourteenth and final year with a generous finale May 16-18. This final event extended for three evenings instead of the usual two.
Continue ReadingMarriage Rhyme
Something old, something new, something borrowed, and something “Blue.” The premise of Australasian Dance Collective’s fortieth anniversary celebration stems from the traditional divisions of time.
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Heaven and Earth
Shadows, dark matter and the enigmas of consciousness—the ideas behind Crystal Pite’s “Frontier” are timely and timeless at once.
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Let the Dancers Speak
Ballet West’s Works from Within program gave company dancers a chance to speak. This year’s edition featured five works: Katlyn Addison’s “Andromeda,” Nicole Fannéy’s “Lingering Echoes,” Jazz Khai Bynum’s “With Feeling,” Vinicius Lima’s “Elis,” and Emily Adams’ “Mass Hysterical.”
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New York Knickknacks
For the third year in a row, I attended the Spring is Blooming festival on Mother’s Day. Thanks to Dance Reflections by Van Cleef & Arpels and artist Alexandre Benjamin Navet, in place of crowded, overpriced brunches, I now look forward to a public dance spectacle, bougie swag, and the delightful camouflaging of the concrete jungles of midtown with pop-art flowers, pastel gazebos, and lazy bench swings.
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Changing of the Seasons
Pattern and symmetry are the modus operandi of choreographer Thierry Malandain’s “Les Saisons” (2023), performed by his Malandain Ballet Biarritz contemporary ballet company to close out the Pittsburgh Dance Council’s 2024-2025 season.
Continue ReadingHere Comes the Sun
Talk about a Terpsichorean/Euterpean acid-like trip! Brooklyn-based Mark Morris Dance Group, currently celebrating its 45th anniversary, burst onto the stage of the Wallis Annenberg Center for the Performing Arts last...
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