By Robert Greskovic By mid-April, with the COVID pandemic seemingly in the rear-view mirror and the Passover and Easter holidays over, New York City’s dance calendar felt like a burgeoning rite of spring. In one week, New York City Ballet, the Martha Graham Dance Company, and Dance Theatre of Harlem competed nightly for audiences. The
By Jeannette Andersen Munich’s Bayerisches Staatsballett recently offered a rare glimpse into some of the more practical details around putting a ballet on stage in a big opera house. Instead of their annual joint press conference with the opera at the theatre itself, they hosted a visit at the set building workshops located half-an-hour’s drive
By Sanjoy Roy When narrative dance works well, it’s gripping: the story is embodied in the performance. When it doesn’t, it looks like much ado about something or other: we sense the physicality but not the story. Like Water for Chocolate, Christopher Wheeldon’s new three-act work for the Royal Ballet (a co-production with American Ballet