writers on dancing

Volume 4, Number 19 - May 15, 2006

more current articles!


Birmingham Royal Ballet: "La Fille Mal Gardee" and the Stravinsky triple bill
by John Percival

San Francisco Letter No. 8:
Hubbart Street, SFB School Performance, "Iphigenia," and Cal Performances Centennial Celebration

by Rita Felciano

Washington Ballet's Bach/Beatles Project
by Kate Mattingly

Chris Elam
by Susan Reiter

Stephen Pelton
by Ann Murphy

did you miss these?

Siobhan Davies
by John Percival

Miami City Ballet in New York:

Miami Heat
by Nancy Dalva

Miami's "Dances at a Gathering"
by Susan Reiter

Randee Paufve
by Ann Murphy

ABT's Studio Company
Ailey 2, Taylor 2

by Susan Reiter

what we're reading

Enchanting Balanchine, Empty Feld, Phony Forsythe: Robert Gottlieb in The Observer

Ismene Brown previews the Royal Ballet's new production of "The Sleeping Beauty" in The Telegraph

Gia Kourlas on Twyla Tharp, in the New York Times

Tobi Tobias on Forsythe for

Rachel Howard on the "end of an era" at San Francisco Ballet, for The Chronicle




Dracula does Paris
by Marc Haegeman

“Nosferatu sinks his teeth into the flesh of the Opera. An attempt to let blood flow through dance… not as in war but as in life… and to see if the vampire’s kiss brings any part of us back to life.” With these ominous lines French choreographer Jean-Claude Gallotta introduces his “Nosferatu”, created for the Paris Opera in 2001 following a commission by dance director Brigitte Lefèvre, and given a second run at the Théâtre de la Bastille this season. READ MORE


by Nancy Dalva

Oh, boy. Seduction, and betrayal. William Forsythe knows just how to get to a girl. His concepts for “Kammer/Kammer” are complicated. In fact, the work is a ferrago of notions and ideas, and is quite interesting to read about. As I understand it from from walking into the theater to observe the company faking a live pre-rehearsal or taping situation, at the opening of this work we are supposed to think that what we see is real. And that what follows is “art. That’s the major set up. READ MORE


New York City Ballet's Spring Season

Choreographers in the house
by Leigh Witchel

The Spring Gala for NYCB was mostly home-grown this year. It included
Diamond Project premieres from its two in-house choreographers as well as a shorter and older work from William Forsythe. Christopher Wheeldon, the company's resident choreographer, closed the evening with "Evenfall," a new ballet that showed why people have faith in his potential and talent. READ MORE


Strong dancing
by Michael Popkin

A virtue of strong programming is to provide useful contrasts between works, but  contrasts, when too extreme, can also disrupt the continuity of a theatrical experience; the transitions you are asked to make can be jarring.  Saturday night at City Ballet, when Jerome Robbins’ “Mother Goose” was substituted at the last minute (for the originally programmed “In the Night”) as the opening ballet on a program that included Mario Bigonzetti’s “In Vento” and ended with George Balanchine’s “Symphony in C,” was an example of just such extreme shifts of mood and impression. READ MORE

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