Lucy Guerin, Inc
At the end of the year, Lucy Guerin will step down as founding artistic director of Lucy Guerin Inc, with Melanie Lane to take the helm in 2027, and a new company name to be revealed.
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Limón, Past and Present
I can’t take my eyes off the men. Stephen Haley, Joey Columbus, and Ian Debono each have solos in “Mazurkas” that emphasize the Limón posture full of elegance and pride.
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Weird and Whimsical
While the dancers traveled up from Florida, the Sarasota Ballet presented a taste of British sensibilities in its week-long engagement at the Joyce Theater.
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On rare occasions, a dance seems to speak directly to me—often to my experiences as a dancer, sometimes to my humanity.
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Dance as Duration
“This resting, patience” has been danced in cities ranging from Helsinki to Porto to Venice, and in all of them the crooning vocals of its most-repeated music, Burt Bacharach’s “What the World Needs Now Is Love,” must have been instantly familiar.
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Swooping In
In the Chunky Move Studios, for Caroline Meaden’s “Immacolata,” presented as part of Melbourne Fringe Festival, two banks of seats, on the diagonal, hold a room.
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Salve for the Soul
Whether Rosalía really stood on pointe for four minutes while singing “Reliquia,” on “Saturday Night Live” recently, or it was some sort of television trickery, the sight of her steadfastness on toe came to mind when watching the brilliant dancers of Houston Ballet make their debut at Segerstrom Center for the Arts on opening night of their five-performance run of the West Coast premiere of “Sons de L’âme (Sounds of the Soul).”
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Healing Hike
A hike where art moments happen along the way is how dancer-choreographer Dominic Moore-Dunson described his site-specific, outdoor dance-theater work, “Black by Nature.”
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Balanchine, Evergreen
As a true balletomane, this writer can never get enough Balanchine. And true to form, American Contemporary Ballet kicked off its fifteenth season with “Pas de Deux,” three works by the master himself, George Balanchine, and another by Lincoln Jones, ACB’s savvy artistic director with a penchant for the man who helped change the art form in this country.
Continue ReadingLegend Retold
The most legendary figures are often the most misunderstood—reshaped over time into something that merely evokes the original rather than really resembling it.
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Page Notes
I’ve never thought about program notes and how much they help or hinder connecting to a new dance as much as I have since watching Jessica Lang’s creative association unfold with Pacific Northwest Ballet.
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Boston Ballet in Paris
For Boston Ballet’s third visit to Paris, the company brought what promised to be two surefire crowd-pleasers: Alexander Ekman’s “Cacti” and Akram Khan’s “Vertical Road (Reimagined).”
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Dancing Your Way Home
As a Nor’easter wreaked havoc along the Mid-Atlantic seaboard, the wet winds calmed down enough by late afternoon to venture out to Alonzo King Lines Ballet that evening.
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On Criticism
On rare occasions, a dance seems to speak directly to me—often to my experiences as a dancer, sometimes to my humanity.
Continue ReadingLimón, Past and Present
I can’t take my eyes off the men. Stephen Haley, Joey Columbus, and Ian Debono each have solos in “Mazurkas” that emphasize the Limón posture full of elegance and pride.
Performance
Place
Words
Weird and Whimsical
While the dancers traveled up from Florida, the Sarasota Ballet presented a taste of British sensibilities in its week-long engagement at the Joyce Theater.
Continue Reading
Dance as Duration
“This resting, patience” has been danced in cities ranging from Helsinki to Porto to Venice, and in all of them the crooning vocals of its most-repeated music, Burt Bacharach’s “What the World Needs Now Is Love,” must have been instantly familiar.
Continue Reading
Swooping In
In the Chunky Move Studios, for Caroline Meaden’s “Immacolata,” presented as part of Melbourne Fringe Festival, two banks of seats, on the diagonal, hold a room.
Continue Reading
On the Fringes
Upon arrival, two tall screens reveal a kaleidoscopic, fluid slither of serpents, as I find a seat in the downstairs Sylvia Staehli Theatre at Danceshouse, for Weichen Cui’s “In Green, In White—Metamorphosis of The White Snake,” presented as part of Melbourne Fringe Festival 2026.
Continue ReadingFashionable Fall
In approaching a New York City Ballet Fall Fashion Gala commission, choreographers have two choices: make a dance that hinges upon the fashion, or make a dance regardless of the...
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Shakespearean Twist
It’s a drag to report that I had the urge to walk out of my first performance back in NYC after a long summer break.
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Leading the Pack
Things seem to be clicking in place for Mamela Nyamza. Her latest work “The Herd/Less” is touring the world while her recognition as a choreographer with a distinction for the subversive and political has earned her a Silver Lion for dance at the Venice Biennale.
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Ronald K Brown, Raw and Resilient
After taking a field trip in the second grade to see the Alvin Ailey American Dance Theater, Ronald K. Brown was inspired to take his first dance class at Bedford Stuyvesant Restoration Corporation, a Brooklyn-based community center.
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Dance with Defiance
As much as it is a cliché to reference, there is something special in finding a work that so aptly fits that famous quote from George Balanchine: “See the music. Hear the dance.”
Continue ReadingWild Things
Wei Wang begins as any faun does: alone and center stage, awakened from a reverie and looking a touch wobbly.
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