Oh, it’s a strange world, ballet — filled with rituals and practices that Mary Jane Doherty captures with sharp-eyed grace.
South African choreographer Dada Masilo goes even further into the Swan Lake fantasy: here, the characters, men and women, are all swans.
Fuse dance critics pick some of the outstanding performances/events of the year.
If the creators of Flesh and Bone want to whip upanother trite soap opera, that’s their prerogative. But hush about the “realism.”
Both dances may limn our own Age of Anxiety, and the modern ways it manifests within us.
The “treats” being offered throughout Spektrel’s four dances are an eclectic variety of movement, music, and moods.
Monchichi is about relationships but focused on this particular relationship, in which affection and intimacy and joy and sometimes frustration exist.
“Ballet is only good when it is great,” the legendarily unblinking dance critic Arlene Croce once wrote; whenever I bring that judgement to mind it makes me both swallow hard and sigh softly.
Cinderella isn’t a lavish spectacle à la the Met, but rather, like its heroine, modest on the surface while pulsing with a generous heart underneath.
Tomorrow, Misty Copeland will be American Ballet Theatre’s first African-American ballerina to perform the lead role in Swan Lake in New York City.