Pennsylvania Ballet's "Balanchine and Beyond" program dances the intricacies of poetry, ballet, and Trisha Brown's contemporary dance language.
With only two months to inspire new breath into the company, Ángel Corella has revived it admirably.
The opening night of the Come Together Dance Festival featured strong, innovative works danced with such verve and professionalism that they looked new again.
I just saw the most spectacular Philadanco concert I’ve ever seen— an all-Christopher L. Huggins celebration, with six of this young choreographer’s works. Each one gave me such goose bumps that I worried people could see them through my sweater.
At Dance/USA's annual conference, dancers and impresarios usually spend their time talking about dance and economics, but rarely about race. This year's gathering in Philadelphia confronted the issue head-on.
With its home in Aspen, a season in Santa Fe and a healthy touring schedule, the 16-year-old Aspen Santa Fe Ballet is as good a role model as any ballet company could follow.
Let's not forget that Stravinsky's Rite of Spring was originally composed for a ballet. And there's no right or wrong way to imagine this work. Of the dozen interpretations I've seen, Dan Safer's fell somewhere in the middle— more exercising than engaging.
The former food and language critic Jim Quinn now writes unflinching yet tender characterizations of people slogging through life. Both of these stories are sadly funny and horrifically real.
It's New Year's night on Broad Street in Philadelphia. Do you know where your grandparents are?
Unlike most choreographers, Deborah Hay encourages dancers to stamp their own personalities on her work. The short-term results of this experimentation can be underwhelming, but over the long run the rewards are profound.