World-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
Book reviews of Lola Lafon’s Reeling, interviews with authors Mindy Aloff on Why Dance Matters and Marina Harss on The Boy from Kyiv, etc...
240 pages. 7.25″ x 10″Description
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There are few dance companies as versatile as Ballet Hispánico. The company, which is the largest Latine/x/Hispanic cultural organization in the United States, prides itself on its far-reaching celebration of the Latinx diaspora with a school that offers training in flamenco, salsa, and Afro-Caribbean, in addition to ballet, jazz, and more.
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It was a lovefest at the David H. Koch Theater last Thursday for the Youth America Grand Prix's 25th Anniversary Gala performance. As galas go, the night was awash in pageantry.
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According to artistic director Peter Boal’s welcome letter for Pacific Northwest Ballet’s fifth season program, the most popular mixed rep slates at PNB feature works by Crystal Pite or Twyla Tharp.
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Lassoing is a surprising through-line for a Martha Graham Dance Company performance. The theme steps generally tend towards the child-birthing variety: contractions and deep squats.
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As a dance viewer, it’s easy to get swept up in the grand movements in a piece, glossing over the finer details.
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Hubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
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The legendary Cuban dancer Carlos Acosta trained relentlessly to come out of retirement last year for a performance of classical works in celebration of his 50th birthday at the Royal Ballet, where he spent most of his professional career.
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The Dance Theater of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past.
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Despite the fact that dance and music are often regarded as inextricably linked, it remains astonishing to experience the work of a choreographer who channels the score particularly well—or a group of dancers who embody it especially organically. Repertory Dance Theatre’s 58th season closer, “Gamut,” happened to have both.
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If there’s anybody who embodies ‘rizz’—charisma in today’s coolspeak—it’s dancer, choreographer, and filmmaker Benjamin Millepied.
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One might easily mistake the prevailing mood as light-hearted, heading into intermission after two premieres by Brenda Way and Kimi Okada for ODC/Dance’s annual Dance Downtown season. Maybe this is just what we need to counter world events, you may think. But there is much more to consider beneath the high production values of this beautifully wrought program. Okada, for instance, folds a dark message into her cartoon inspired “Inkwell.” And KT Nelson’s “Dead Reckoning” from 2015 reminds us the outlook for climate change looms ever large.
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It’s not every choreographer who works with economists, anthropologists, neuroscientists and cognitive scientists, not to mention collaborating with the Google Arts & Culture Lab and the Swedish pop group ABBA, but Wayne McGregor wouldn’t have it any other way.
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Dance scholars have been remarking on the great Trisha Brown nearly from the day she first stepped into Robert Dunn’s class—the genesis of Judson Dance Theater—in the 1960s.
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The prolific drummer Max Roach would have been 100 years old on January 10, and all around the world, admirers have been celebrating.
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Generally, a production of “Swan Lake” is only as good as its Odette and Odile, symbolic of the duality of nature. So, it’s wonderful to see Sophie Martin back, dancing...
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The Nederlands Dans Theater has been coming to City Center since 1968. The company’s associations with edgy choreographers like Jiri Kylian, Crystal Pite, William Forsythe, and Ohad Naharin have made for some thrilling performances over the years.
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There may not be a direct correlation between bibliophiles and lovers of Butoh— the Japanese modern dance form created as a response to the bombing of Hiroshima that is sometimes referred to as the Dance of Darkness—but it’s safe to say that there never has been—nor will there ever be—a bookworm, literally, quite like Oguri.
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Reading up on the backstory of how Alejandro Cerrudo’s “One Thousand Pieces” finally made it to the stage at Pacific Northwest Ballet, one is struck by the epic commitment the company lavished upon an epically scaled dance.
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Created by Scottish Dance Theatre’s artistic director Joan Cleville, and filmed in one long, continuous take by digital artist Tao-Anas Le Thanh, “The Life and Times” is inspired by amongst other Baroque works, the Diego Velazquez’s painting, Las Meninas, which invites the viewer to observe the painter in his studio, flanked by a group of sumptuously attired models.
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Doug Varone is known for the masterful way he moves groups of people around onstage, yet he may have outdone himself in his latest work, “To My Arms/Restore.”
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