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Putting a program of ballets together is like composing a delicious meal. An enticing beginning, something more substantial to follow, and a finale that leaves ’em wanting more. Creating that perfect menu is one of the most central and difficult tasks for a ballet company’s artistic director, who must also consider how the mix of…
The most arresting performer in the Martha Graham Dance Company’s current season at the Joyce Theater died 34 years ago: Martha Graham. In the intriguing premiere “Letter to Nobody,” which the outstanding dancer Xin Ying choreographed with Mimi Yin, Xin dances in front of archival footage of Graham in “Letter to the World,” a 1940…
In this charged and challenging world, Reggie Wilson, a choreographer one can depend on for dance artistry no matter the political climate, can get to the essence of feeling — the good, the bad and everything in between. His new “The Reclamation,” performed at NYU Skirball over the weekend, is a powerfully solemn dance that,…
Smirnova now often looks to pare movement back, she said, praising “the power of stillness” onstage. James Bonas, a British stage director who adapted “Macbeth” with Pickett, compared Smirnova’s “clarity and simplicity” to that of great theater performers. “In ballet, acting can have a painted-on quality, but she understands the idea of inhabiting a character…
In its 2025-26 season, New York City Ballet will welcome one dancer, Ryan Tomash, and bid farewell to another, Megan Fairchild, who will depart after 25 years with the company. “Megan is absolutely beloved by every single person here within our institution,” Wendy Whelan, City Ballet’s associate artistic director, said. “She’ll be a huge loss…
Supported by SKIP ADVERTISEMENT Sketch Pad Members of the dance company Ballet Hispánico weren’t the only ones who swirled amid the art in the museum’s rotunda during a recent presentation and tango class. Share full article By Annie Aguiar Illustrations by Vidhya Nagarajan March 29, 2025, 5:02 a.m. ET
The lights go up on two dancers, each isolated in a zone of light. As the two trade moves and trade places, recognizable elements keep recurring: the side-to-side head isolations of Indian dance, a duck walk from vogueing, a hip-hop crotch grab. The ingredients are familiar, but the combination is novel. Such is “A Duo,”…
“Probably in a great way but also in a bad way,” Asante said, he decided to give Sandy the stems, or building blocks, of all the many tracks he had created for the show. “So I would walk into rehearsal and discover that a track I gave him is now a few counts longer,” he…
Before the lights go down at the start of “Terrestrial: The Sprout,” Germaine Ingram enters, looking regal and wise. She mounts a thronelike platform and about 70 minutes later, at the work’s end, she rises and sings powerfully deep notes and then vanishingly high ones. In between, she holds court by sitting and watching. “Terrestrial:…
And then there is Memoli’s material, which takes the dance back to a time when Tharp was in her 50s and improvising to explore classical technique, experimenting with movement — spatially, rhythmically and sequentially. She was reinventing: stripping out preparations, pairing a loose top of the body with a classically held center, and using torque…
