Dance Floor Liberation
Los Angeles–based dance artist Jay Carlon knew that the proscenium stage couldn’t house his 2024 work, “Wake,” in its fullness. So he moved it elsewhere: to a rave.
Continue ReadingWorld-class review of ballet and dance.
"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
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.
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Los Angeles–based dance artist Jay Carlon knew that the proscenium stage couldn’t house his 2024 work, “Wake,” in its fullness. So he moved it elsewhere: to a rave.
Continue ReadingChoreography wasn’t on Lia Cirio’s radar when artistic director Mikko Nissinen asked her to participate in Boston Ballet’s ChoreograpHER initiative in 2018. The principal dancer had always thought, “Oh, that's not something for me. I just like being in the room and helping people and being choreographed on.” But her good friend and colleague at the time, Kathleen Breen Combes, gave her a nudge.
Continue ReadingIngrid Silva’s expression is calm, the side of her mouth upturned a few degrees, as if she’s delighting in the reception of her own joke.
Continue ReadingFrench choreographer Lea Tirabasso makes dense, intricate work which explores existential concerns connected with science, nature and morality. Witty, vivid and visceral, her work pushes beyond simple genres or choreographic language, creating something far richer and more complex. Her most recent piece, “In the Bushes” is part of the Edinburgh Festival this year. Fjord Review caught up with Léa Tirabasso ahead of the Summerhall run.
Continue ReadingWhy Not Theatre’s bold, multidisciplinary adaptation of the Mahabharata drew a rapt audience at Lincoln Center’s vibrant summer arts festival “Summer for the City.”
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Stephen Petronio has an odd way of celebrating his 40th anniversary. He and his board have decided this season will be the company’s last.
Continue ReadingWashington, D.C.’s 100° June weather wasn’t the only thing generating heat in the city. Chamber Dance Project’s 11th annual D.C. summer season production, “Red Angels,” produced its own scorching intensity as one of this summer’s early triumphs.
Continue ReadingA ballet body is essentially a deformed body. The older and more experienced the dancer, the more evident–and beautiful–this deformation is.
Continue ReadingAfter a successful dancing career with, among others, Dutch National Ballet, Finnish National Ballet, and finally San Francisco Ballet, where he was a principal dancer for a decade, Mikko Nissinen has proven himself a strategic, forward-looking and beloved artistic director of Boston Ballet.
FREE ARTICLETo celebrate its 85th anniversary, the American Ballet Theatre filled its summer season with exciting debuts.
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The world-renowned Czech choreographer and multimedia artist Jiří Kylián was recently honored with a retrospective festival at the Oslo opera house.
Continue ReadingUntil March 2022, Olga Smirnova was one of the top dancers at the Bolshoi, performing roles in a large swathe of the repertory, everything from Odette in “Swan Lake” to Marguerite Gauthier in John Neumeier’s “Lady of the Camellias” and Bianca in Jean-Christophe Maillot’s “Taming of the Shrew.”
Continue ReadingA delightful production, served with verve: the National Ballet of Japan’s recent performance of “Alice in Wonderland” was an unabashed celebration of imagination, deftly showcasing all the wacky wonder of Christopher Wheeldon’s modern ballet classic.
Continue ReadingCasual perfection. Studied grace. Spontaneous elegance. These are but a few of the words that came to mind when this writer observed nine gorgeous dancers from LA Dance Project and four students from the Trudi Zipper Dance Institute at the Colburn School, cavorting around the courtyard and grounds of the Wallis Annenberg Center for the Performing Arts last Friday in Janie Taylor’s “Anthem.”
Continue ReadingSo, shoe me! Seriously, there have been countless iterations of the ballet “Cinderella,” all pivoting around footwear, whether pointe, glass or golden slippers. Indeed, this particular terpsichorean fairytale can be...
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There’s a small moment in Rena Butler’s new “Cracks” that I think only could have become possible at Pacific Northwest Ballet, which commissioned it.
Continue ReadingThis year marked the 60th anniversary of the School of American Ballet’s annual Workshop Performances. The programming was unusually democratic this year.
Continue ReadingWe are all of us, beings, in a constant state of continual change. We humans are a composition of oxygen, carbon, and hydrogen.
Continue ReadingThe 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 Lora 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...
Continue ReadingThrough 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...
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