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Inside the Somatic Field
REVIEWS | Karen Greenspan

Inside the Somatic Field

On the first weekend of spring, Japan Society presented multidisciplinary, avant-garde artist Hiroaki Umeda and his dance ensemble Somatic Field Project in an evening-length program of his latest cutting-edge dance works.

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Red Scares
REVIEWS | Faye Arthurs

Red Scares

American Ballet Theatre typically holds court in NYC twice a year. Their Summer Season at the Metropolitan Opera House features classical narrative full-lengths, and the Fall Season at the Koch Theater showcases edgier, short-form works.

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For Love or Money
REVIEWS | Kris Kosaka

For Love or Money

Unlikeable humanity in a rapacious society, Kenneth MacMillan’s “Manon” hits the zeitgeist—again. Recently staged by the National Ballet of Japan, it’s a stunning testimony to the ballet’s relevance across time and space. Fifty years since its creation and set in eighteenth-century France, the production nevertheless holds a mirror to now.

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Disorderly Dance
REVIEWS | Victoria Looseleaf

Disorderly Dance

An ambitious yet flawed work, “Dis-order,” seen last week at the Skirball Cultural Center, was described in the program notes as a “communal ritual, and a family drama that asks what forces move through us when we enact an ancient spring rite, and what is left unspoken when we gather around the table.”

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Intimacy on the Knife-edge

Intimacy on the Knife-edge

Crystal Pite is a connoisseur of the ensemble, with a forte for spotlighting the humanity of the collective, from the tight-knit flock to the anonymised mass.

Performance

English National Ballet: “Body and Soul (Part 1)” by Crystal Pite / “Proper Conduct” by Kameron N. Saunders

Place

Sadler’s Wells, London, UK, March 20, 2026

Words

Sara Veale

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First Light
REVIEWS | Karen Hildebrand

First Light

Looking down into the rotunda from the spiral ramp of New York’s Guggenheim Museum can be dizzying. My perch tonight is located two-thirds of the way to the top—and it’s the best view in the house for Lucinda Childs’ Early Works program.

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Pushed to the Edge

Pushed to the Edge

Push and pull are pretty commonplace commands. You can push someone’s buttons, pull someone’s leg. Somehow we always manage to conflate the two when facing a door in a public...

Performance

Hung Dance: “Push and Pull” by Lai Hung-chung

Place

The Coronet Theatre, London, UK, March 12, 2026

Words

Eoin Fenton

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Intimacy and Infinity
REVIEWS | Sophie Bress

Intimacy and Infinity

The Wade Thompson Drill Hall at the Park Avenue Armory is a yawning, cavernous space. In its depths, even the fiercest applause can be rendered a mere din, sounding hollow and unappreciative.

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Low Tide
REVIEWS | Faye Arthurs

Low Tide

Noé Soulier’s “The Waves” ran for two nights at the Joyce Theater in early March as part of the Dance Reflections Festival by Van Cleef & Arpels.

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Tragic Beauty
REVIEWS | Rebecca Deczynski

Tragic Beauty

Where language falls silent, dance speaks. That is the case for balletic interpretations of Shakespeare’s great works—particularly Lar Lubovitch’s three-act “Othello,” choreographed for American Ballet Theatre in 1997.

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A Grand Swan Lake

A Grand Swan Lake

Like most new adaptations of existing story ballet classics, the world premiere of artistic director James Sofranko’s “Swan Lake” for Grand Rapids Ballet retained the bones of the original it...

Performance

Grand Rapids Ballet: “Swan Lake”

Place

DeVos Performance Hall, Grand Rapids, Michigan, February 27, 2026

Words

Steve Sucato

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Family Feud
REVIEWS | Kris Kosaka

Family Feud

Shakespearean purists, leave your expectations at the door. With his rendition of Sergei Prokofiev’s “Romeo and Juliet,” first staged in 2009 to mark the 10th anniversary of K-Ballet Tokyo, Tetsuya Kumakawa plays freely with details from Shakespeare’s tragedy to create a psychological, theatrical study of doomed love.

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Facing the Music
REVIEWS | Kris Kosaka

Facing the Music

From charming stagings for children to edgy dance theater, Un Yamada Company, a creative collective based in Tokyo, has built a reputation for consistently innovative productions.

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Video Games
REVIEWS | Rebecca Deczynski

Video Games

For much of “Romeo & Juliet Suite,” Benjamin Millepied’s stripped-down take on the Sergei Prokofiev ballet—billed as a gender-bent, “contemporary, site-specific” version of Shakespeare’s classic—I find myself thinking of a different play by the bard. Specifically, the direction in The Winter’s Tale: “Exit, pursued by a bear.” Most of the drama here, after all, happens offstage.

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Coded Messages

Coded Messages

Montreal based choreographer and artistic director, Virginie Brunelle’s eponymously named company performed its 2022 “Fables” at Penn Live Arts Zellerbach Theatre series on the brink of Women’s History month.

Performance

Compagnie Virginie Brunelle: “Fables”

Place

Zellerbach Theatre, Penn Live Arts

Words

Merilyn Jackson

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