Reviews

Fast and frenzied

Mental illness isn’t a common subject matter for dance, but then again Company Chameleon isn’t your average dance troupe. The Manchester-based company dedicates itself to showing people the possibilities of dance both on stage and off, frequently complementing its performances with public workshops that examine the stories behind its work.

Kiss-met

Alexei Ratmansky’s “The Fairy’s Kiss” is a captivating piece of dance storytelling, fusing genres of fairy tale, mystery, and romance to powerful effect. Set to Igor Stravinsky’s enchanting score and replete with gripping choreographic imagery, it’s a masterfully-crafted and thought-provoking ballet in which Ratmansky’s talent of making dance as a vital, immediate, and engrossing theatrical experience shines through and through.

Sweet Dreams

A kind of cross between Willy Wonka & the Chocolate Factory and the booze-infested flick, Lost Weekend, the world premiere confection, “Whipped Cream,” landed with a sumptuous, if occasional cloying, sweetness in Orange County for a five-day run, before making its frothy way to American Ballet Theater’s home—the stage of the Metropolitan Opera House—in May.

Interviews

Shades of Stephanie

“I was very fortunate in Australia; I had an amazing four years at the Australian Ballet School—which was the best training—and when got into the company, I got to dance Christopher Wheeldon ballet within the first three months of joining.

Dancers of New York

Bella-rina

At a recent All Star Ballet Gala in Toronto, you could watch Isabella Bolyston melt into a role, and then, distinctly, conquer it. The American Ballet Theatre principal, Bella to her friends, showed off her fleet footwork in the pas de deux from Bournonville's “Flower Festival in Genzano,” before literally diving into Balanchine's “Tschaikovsky Pas de Deux,” smiling all the while. The crowd roared its appreciation.

Shades of Stephanie

“I was very fortunate in Australia; I had an amazing four years at the Australian Ballet School—which was the best training—and when got into the company, I got to dance Christopher Wheeldon ballet within the first three months of joining.

Rising Stars

Rising Stars of the Erik Bruhn Prize

Winning this year's competition for the Erik Bruhn Prize, hosted by the National Ballet of Canada in Toronto, were two dancers from Boston Ballet, soloist Angelo Greco, and corps de ballet dancer, Natasha Sheehan. Together they performed the pas de deux from “Giselle” for the classical repertoire, and danced a contemporary duet choreographed by fellow company member Myles Thatcher.

Editor's Picks

Features

Again, A City Builds Itself

“I had not thought death had undone so many.” These words belong to T.S. Eliot, from his poem The Waste Land. When Wayne McGregor’s ballet “Infra” premiered with the Royal Ballet in 2008, a ballet created in response to the London Bombings of July 7th, 2005, its program notes contained this quote, and derived inspiration from Eliot’s poem.

Glitz and Glam: A Weekend at Wilderness

Glitter—this was one of the first details I noticed when I arrived at Wilderness Festival last Friday. The shimmery stuff was everywhere, winking at me from eyelashes, cheeks, t-shirts, bunting. Poking out of pockets and tumbling out of tents, glinting and gleaming in the hot August sun.

Galas & Comps

Star Power

Ballet galas showcasing the world's top dancing talent are in vogue. They have been popping up in cities all around the world from Tokyo to Buenos Aires, and as of February, Toronto courtesy of the National Ballet of Canada's principal dancer Svetlana Lunkina.

A Civil Affair

More than three decades at the helm of San Francisco Ballet has sharply attuned Helgi Tomasson to the political mood of his high society season opening gala attendees. Eight years ago, with the gala held one night after Barack Obama’s inauguration as president of the United States, Tomasson closed with George Balanchine’s “Stars and Stripes.” Last Thursday, on the eve of Donald Trump’s inauguration, the only red, white and blue to be found were the Bastille Day colors on Vanessa Zahorian’s sash in the pyrotechnic pas de deux from “Flames of Paris.”

A Southern Genée

International ballet competitions have become a somewhat necessary evil in the ballet world. Brought to popular culture’s attention by movies such as First Position, they are, by all accounts, high impact events. Artistic directors from world-famous ballet companies line the judging panels to the watch ballet’s rising stars train, perform and compete.

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