World-class review of ballet and dance.
When is a music video also a dance film? This is a question that I’ve often asked myself as a result of the propensity amongst curators, speakers, museums, arts institutions and more to sort, arrange, label, and otherwise categorize works that contribute to popular arts and culture.
Continue ReadingTo launch her tenure as artistic director for the National Ballet of Japan, Miyako Yoshida added Sir Peter Wright’s “Swan Lake” (with Galina Samsova) to the repertoire, explaining the choice as a “new step forward” for the company.
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In the forest, it is never silent. Everything is in transmission with something else, be it tree roots to soil, plants to animals and insects, or warning cries that ripple through the forest when predators approach.
Continue ReadingAt the vertical and horizontal intersection of two white lines on a darkened stage, performer Layla Meadows and her corresponding organic outline appears. For this restaging of “Glow,” a work choreographed by Gideon Obarzanek for the Melbourne Festival in 2006, it is Meadows’s time to be scanned and surveyed in...
Continue ReadingWith its “sprawl to the wall” density, the city of Los Angeles seems a good fit for democratizing dance, i.e., presenting site-specific movement in an array of venues—both indoors and out—all free to the public. Indeed, Benjamin Millepied, the founder of L.A. Dance Project, began the series in the French...
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When is a music video also a dance film? This is a question that I’ve often asked myself as a result of the propensity amongst curators, speakers, museums, arts institutions and more to sort, arrange, label, and otherwise categorize works that contribute to popular arts and culture.
Continue Reading
To launch her tenure as artistic director for the National Ballet of Japan, Miyako Yoshida added Sir Peter Wright’s “Swan Lake” (with Galina Samsova) to the repertoire, explaining the choice as a “new step forward” for the company.
Continue Reading
In the forest, it is never silent. Everything is in transmission with something else, be it tree roots to soil, plants to animals and insects, or warning cries that ripple through the forest when predators approach.
Continue Reading
At the vertical and horizontal intersection of two white lines on a darkened stage, performer Layla Meadows and her corresponding organic outline appears. For this restaging of “Glow,” a work choreographed by Gideon Obarzanek for the Melbourne Festival in 2006, it is Meadows’s time to be scanned and surveyed in this duet between a dancer and a machine.
Continue Reading
With its “sprawl to the wall” density, the city of Los Angeles seems a good fit for democratizing dance, i.e., presenting site-specific movement in an array of venues—both indoors and...
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In Maia Chao’s “Being Moved,” the audience was ushered up to the 7th floor of the Whitney Museum of American Art in a large, crowded elevator with all sixty or so passengers carrying on conversations at maximum volume.
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They’re saucy, sweet and stunning! They’re the ballerinas of American Contemporary Ballet and they’re helping close the company’s 2025-26 season with performances of “Spectacular Balanchine,” a program devoted to the choreography of George Balanchine.
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Unlike its messy neighbor, Los Angeles, one would think that establishing a ballet company in the relatively serene Orange County would be welcomed.
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The current global zeitgeist of uncertainty and the tendency to jump to judgment inspired veteran dancer-choreographer Beth Corning's latest dance-theater work, “Foolish Assumptions.”
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At a time when the roots of toxic masculinity are still being hotly debated within society (I'd argue nature and nurture aren't necessarily mutually exclusive bedfellows) the excellent “Boys Don't...
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Just as The Wizard of Oz to the United States or Pinocchio to Italy, Alice’s Adventures in Wonderland is the coming-of-age novel of English childhood. The reception of Christopher Wheeldon’s ballet of the same name depends heavily on this legacy.
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Director and choreographer Naoya Homan’s reimagining of “Aleko,” a one-act ballet where art takes center stage, dazzles the eye with a tragic meditation on the limits of freedom.
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In “Me Time—Danza al Museo” by choreographer Camilla Monga, dance becomes a tool for deeper seeing. Through choreography, the museum becomes a space of cognitive and emotional activation. The result is an encounter that lingers long after the performance ends.
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In San Diego, a surprisingly robust number of ballet companies compete for a relatively small audience. While two such companies, City Ballet of San Diego and Golden State Ballet, present mixed repertoire programs, San Diego Ballet performs almost exclusively the work of director-choreographer Javier Velasco.
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Julie Mehretu’s current exhibition at the Marian Goodman Gallery is astronomical. Our Days, Like a Shadow (a non-abiding hauntology) is a series of large, new, multicolored paintings that seem to...
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An insistent electronic beat suffuses the dark-wood auditorium while people are milling about and locating their seats.
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Doug Varone and Dancers celebrated its 40th anniversary at the Joyce this final week of May with a time-honored formula—“something old and something new.”
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The world premiere of Remi Wörtmeyer's "La Bohème" marked a seminal moment in the history of BalletMet. The two-act production was unlike any that the 48-year-old Columbus, Ohio-based company has ever staged and showed a marked ascent in its artistic merit.
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In rehearsal, Dionne Figgins is exacting. She has an eagle eye as she runs choreography in short sections, making sure each detail is accounted for.
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Where do you go when you’re at the theatre? Are you looking for escape or confrontation? Do you want to weep for the world or tap your toe? In their...
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