"Voices", "In Memory of...", "Diamonds"
New York City Ballet
David H. Koch Theater
New York, NY
May 8, 2026

The evening’s performance had works by Ratmansky, Robbins, and Balanchine, and though none showed them at their finest, it did show that craft and imagination, plus very good dancing, can be rewarding.  Ratmansky’s “Voices” is rather austere opening work, an experiment in movement to pure sound without melody or clear rhythm; ironically the biggest applause went to the

"Continuum", "Each in Their Own Time", "Distant Cries", "Concerto DSCH"
New York City Ballet
David H. Koch Theater
New York, NY
May 1, 2026

NYCB’s programming has had some ups and downs this season, and this program, called forthrightly “Contemporary Choreography III” (Contemporary Choreography I and II were danced in the Fall and Winter seasons respectively so it seems that one contemporary collection a season is allotted), opened with three rather dark and knotty works, which, perhaps coincidentally, were

"Divertimento No. 15", "Zakouski", "Composer's Holiday", "Heatscape"
New York City Ballet
David H. Koch Theater
New York, NY
April 29, 2026

This evening’s program, one pas de deux (Peter Martins’ “Zakouski”) and three longer works (Balanchine’s sublime “Divertimento No. 15”, and two newer works by younger choreographers (Gianna Reisen’s “Composer’s Holiday” and Justin Peck’s “Heatscape”), seemed to be designed to show off the company’s current impressive collection of dancers. “Zakouski” celebrated the soon to

“Quinto Elemento: The Fifth Element”
Flamenco Vivo Carlota Santana
The Joyce Theater
New York, NY
April 21, 2026

The program presented by Flamenco Vivo Carlota Santana at The Joyce Theater was no doubt not intended to coincide with humanity's historic return to the Moon — NASA's Artemis II lunar flyby, which carried astronauts farther into space than any humans had traveled in over fifty years, completed just weeks before opening night — but its celestial themes resonated all the more powerfully within

"Symphony in C", "Agon", "Firebird"
New York City Ballet
David H. Koch Theater
New York, NY
April 24, 2026

This all-Balanchine program had a packed and enthusiastic audience, saluting several debuts and two farewells—Megan Fairchild, who danced the first movement of “Symphony in C”, is retiring at the end of the season and Taylor Stanley, who performed the sarabande in “Agon”, has announced his 2027 retirement. The company seemed to sense the audience’s excitement, and the dancing was

"Lady Macbeth"
The Royal Danish Ballet
The Royal Theatre, The Opera
Copenhagen, Denmark
April 24, 2026

Friday night renowned choreographer Akram Khan fulfilled his promise to former artistic director of the Royal Danish Ballet Nikolaj Hübbe to create a new full-length work for the company.

Khan and his team have spent the past four months working with the dancers in the studio perfecting his take on the Shakespeare drama “Macbeth,” transforming the dramatic material of power, betrayal and downfall into

Directed, choreographed, and performed by Vangeline
Costumes by Machine Dazzle
Music by Ray Barragan Sweeten
Lighting by Ayumu "Poe" Saegusa
LaMama Moves! Festival at LaMama Experimental Theater, New York
April 18, 2026

Butoh artiste Vangeline continues to amaze. Last year she was synching brain waves with a male Japanese dancer in a piece (which I didn’t see) called Man/Woman. This year she has dispensed with punctuation and partner, and become a complete being —male and female, animal, vegetable

"Giselle"
The Royal Danish Ballet
The Royal Theatre, The Old Stage
Copenhagen, Denmark
March 27, 2026

In the play bill introduction of "Giselle," one of the cornerstones of Romantical ballet from 1841, the artistic director of The Royal Ballet, Amy Watson, pondered whether Albrecht is evil by nature or just a privileged and bored male out to have some fun. On this night, the latter seemed to be the case, as in the first act when Albrecht dismissed his servant

“Pinocchio”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
Mar. 13, 2026

Ballet (and opera) have been thrust into the public discourse after a certain celebrity recently made comments that these art forms are dying and “no one cares” about them. It was perfect timing for the National Ballet of Canada to promote their revival of Will Tuckett’s 2017 full length “Pinocchio”. Unlike more traditional or classical ballets, “Pinocchio” is punchy, high tech

"Raymonda: Grand Pas Hongrois", "Firebird"
American Ballet Theatre
David H. Koch Theater
New York, NY
March 21, 2026, matinee

There were feathers in both ballets danced at the Saturday matinee—lots of feathers in Ratmansky’s “Firebird” and a feather in Raymonda’s hair in Susan Jaffe’s new staging of the Grand Pas from Petipa’s “Raymonda”. The feathers in “Firebird” (costumes by Galina Solovyeva) had a flashy exoticism, so appropriate for Ratmansky’s post modern take on the

"Mozartiana", "Neo", "Firebird"
American Ballet Theatre
David H. Koch Theater
New York, NY
March 18, 2026, evening

There were three very strong women, supported by three very fine men, in this performance.  Chloe Misseldine and Michael de la Nuez made their debuts in Balanchine’s  celestial “Mozartiana”, Christine Shevchenko, with James Whiteside, made her debut in Ratmansky’s “Neo”, a witty and physical pas de deux , and Catherine Hurlin and Daniel Camargo made their second appearances in Ratmansky’

"Othello: A Dance in Three Acts"
American Ballet Theatre
David H. Koch Theater
New York, NY
March 10, 2026

ABT’s quest for seat-filling full-length ballets has in recent years focused on works based on literary works (“Crime and Punishment”, “Jane Eyre”, Virginia Woolf, “A Winter’s Tale”, etc.), with often disappointing results. There are few choreographers around who can spin choreographic gold from complex sources and “Don Quixotes” don’t turn up very often.  Of course, the balletic