Welcome! On this site you will find candid video interviews with some of the most respected and renowned artists in the global dance community and a blog with reviews and frequent articles relevant to today’s world of dance. New videos are released often, so come back for insightful and original content from the world’s top dance professionals.

Lucia Lacarra

Lucia Lacarra

Bayerisches Staatsballett (Bavarian State Ballet) principal dancer shares her experiences of changing companies several times, why she doesn’t bring her pointe shoes home, and where she gets her inspiration.

Jamar Roberts

Jamar Roberts

Jamar Roberts talks about his experiences performing as a member of Alvin Ailey American Dance Theater, and shares his sources of inspiration in creating his own choreography.

Watch Video

Fall For Dance Festival Photo Shoot

Fall For Dance Festival Photo Shoot

A peek behind the scenes of the photo shoot for the 2012 Fall For Dance Festival advertising campaign. Shot in studio of Lois Greenfield Photography.

Tiler Peck

Tiler Peck

Then NYCB Soloist (now Principal) Tiler Peck reflects on her competition upbringing and how it has shaped her training and career, reveals what makes her nervous, and shares her personal approach to performing.

Christopher Wheeldon

Christopher Wheeldon

Christopher Wheeldon talks about starting Morphoses, the importance of exposing audiences to other choreographers, and the difficulties of running a small company.

Watch Video

Eduardo Vilaro

Eduardo Vilaro

Ballet Hispanico Artistic Director Eduardo Vilaro stresses the importance of educational outreach and shares his thoughts on why dance is worth fighting for.

Lourdes Lopez

Lourdes Lopez

Lourdes Lopez shares about her personal experiences with choreographic legends George Balanchine and Jerome Robbins, and ballet’s progress, innovation, and outside influences.

Watch Video

Andrea Schermoly

Andrea Schermoly

Nederlands Dans Theater’s Andrea Schermoly compares NDT 1 & NDT 2, assesses the impact of her early exposure to contemporary dance on her career, and reveals her most unique choreographic experiences with the company.

Watch Video

Matthew Bourne

Matthew Bourne

Choreographer Matthew Bourne talks about making dance accessible, commercial success, and re-creating classic stories by making them relevant for today.

Yumiko Takeshima

Yumiko Takeshima

Dresden Semperoper Ballett principal dancer Yumiko Takeshima discusses highlights from her career and how it motivated her to start her own dancewear company.

Andrea Schermoly

Andrea Schermoly

Nederlands Dans Theater’s Andrea Schermoly discusses her move from Boston Ballet to NDT, the road she took to get into the company, and the challenges it presented.

Watch Video

Sascha Radetsky

Sascha Radetsky

American Ballet Theatre soloist and Center Stage star, Sascha Radetsky, talks about the importance of having a good coach, his experience with the movie Center Stage, and his interests outside of dance.

REVIEW: Jodi Melnick’s ‘Moment Marigold’ at BAM

REVIEW: Jodi Melnick’s ‘Moment Marigold’ at BAM

by Oct 10th, 2014No Comments

In Moment Marigold, currently in its world premiere at BAM Fisher, Jodi Melnick presents a contagious investigation of the myriad curves and lines our 206 bones are capable of producing. This is a dance that studies the human body so thoroughly that a heightened physical awareness drifts off the stage and into its observers.

REVIEW: Reggie Wilson’s ‘Moses(es)’ at BAM

REVIEW: Reggie Wilson’s ‘Moses(es)’ at BAM

by Dec 11th, 2013No Comments

Reggie Wilson is certain of himself. This confidence shows in his hands, crossed in front of his body as he stands onstage at the BAM Harvey Theater, gazing out at the audience. They are strong, durable hands, and minutes later when they are rapidly packing masses of tinsel into a suitcase, they display no trace of tension. They are the hands of a maker who knows and believes in his taste.

Moses(es), which makes its New York premiere this week at BAM, is ripe with this confidence. It finds form in familiar structures — sections weaving in and out of each other, ensemble washes of the space, juxtaposed duets. These conventions, paired with articulate choreography and deliberate performance, generate a work that is at once watchable and fresh, for rather than trickling into trope or pastiche, Wilson seems freed by formality. His choreography is ranging, risky, tumultuous yet controlled and, more often than not, direct of line and initiation. Where the work departs from familiar territory lies more in what is less obviously seen.

REVIEW: Kate Weare’s “Dark Lark” at BAM

REVIEW: Kate Weare’s “Dark Lark” at BAM

by Nov 10th, 2013No Comments

Kate Weare is afraid of theatricality. She said it herself in a discussion following Friday evening’s performance of Dark Lark, her latest work for her eponymous company, which is currently in residence at the BAM Fisher (the first company to hold this place). Perhaps, then, Dark Lark enacts a fantasy of overcoming this fear; bold, evocative, strewn with narrative implications and visual references, the work unspools like cinema.

Risky Talking with Bill T. Jones, Majora Carter, Elizabeth Streb and Laura Flanders

Risky Talking with Bill T. Jones, Majora Carter, Elizabeth Streb and Laura Flanders

by Nov 3rd, 2013No Comments

On November 1st, SLAM – the Streb Lab for Action Mechanics – opened its Williamsburg doors for the first in a series of discussions under the umbrella of Risky Talking. This series, funded by Dance/USA’s Engaging Dance Audiences program, asks attendees to participate in a “no-holds-barred discussion,” to “say what you think,” and, at least on this inaugural evening, to answer the question: What is a real risk? Everyone present wrote his or her answer on a slip of paper, placing it on a plate for collection, and for one terrifying moment I thought we were going to hear panel member Bill T. Jones read each anonymous risk aloud in that prophetic voice, but Elizabeth Streb had other plans.

REVIEW: San Francisco Ballet’s ‘Cinderella’ at the David H. Koch Theater

REVIEW: San Francisco Ballet’s ‘Cinderella’ at the David H. Koch Theater

by Oct 29th, 2013No Comments

Christopher Wheeldon’s Cinderella is not only steeped in 19th century tradition, but is also part of a rejuvenated, 21st century breed of the story ballet. Set to Sergei Prokofiev’s famous score, the ballet’s libretto – by Craig Lucas – follows the Brothers Grimm tale and eschews the fairy godmother and pumpkins of the Disney and Perrault versions. Wheeldon weaves realistic characters with the fantastic and otherworldly, playing off the music’s darker strands to create complexity.

Throughout the work, projected images by Daniel Brodie appear on a semi-translucent scrim or along parts of the backdrop: clouds shift and birds flutter across, the audience becomes privy to the royal household behind a projected wallpaper pattern of red and gold, and the portraits of eligible princesses change their expressions as Prince Guillaume’s sidekick of a friend pokes fun at the potential wives.

The scenic design by Julian Crouch and lighting by Natasha Katz are particularly intricate and memorable in the kitchen and forest scenes. During Cinderella’s transformation scene, the spirits of Lightness, Fluidity, Generosity, and Mystery appear in green, yellow, brownish red, and blue, dancing in groups of five. The thicket of leaves that marked her entrance into a forest becomes a large tree whose leaves change hue in tandem with the spirits. Finally, the entire ensemble swarms around Cinderella in a cacophony of color to complete the metamorphosis. A slew of bizarre creatures greets the newly transformed Cinderella.

Page 1 of 2112345»1020...Last »
test