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.
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.
Ballet Hispanico Artistic Director Eduardo Vilaro stresses the importance of educational outreach and shares his thoughts on why dance is worth fighting for.
Former Spiderman: Turn Off the Dark dancer and Radio City Rockette Heather Lang talks about her experiences as a commercial dancer and shares her insights on to what makes for a successful career.
NYCB principal ballerina Maria Kowroski speaks about the pros and cons of being tall, the advantages of having choreographers create on you, and shares thoughts on personal struggle and inspiration.
In our first video with Yumiko Takeshima she discussed her career path and her dancewear company. Now the Dresden Semperoper Ballett principal describes what she believes are her unique characteristics as a dancer and how they have played into her relationship with choreographer David Dawson.
ABT Principal David Hallberg shares how he rose through the ranks to become a star and shares his passion about forms of performance art other than classical ballet.
SFB principal Maria Kochetkova tells the story of her move to San Francisco from Europe, why she decided to use social media to share her love of ballet, and talks about her ambition and work ethic.
Dutch National Ballet Artistic Director Ted Brandsen talks about the company’s unique style and repertoire, the importance of giving dancers individual attention and creating a positive company environment.
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.
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.
Safi Thomas speaks about the founding purpose and mission of the Hip Hop Dance Conservatory, unearths the parallel structures of ballet, modern and hip hop, and the discusses the importance of hip hop’s history in its future progress.
Midway through The Black Rose, the second work on Lar Lubovitch Dance Company’s program at the Joyce, the thought surfaced: I really miss Trey McIntyre. When McIntyre shuttered his company this past June, optimists chirped about what bright new adventures the dancers would go on to, each one more talented than the last. It was exciting. We were hopeful.
Where were those cheerful chirpers when Chanel DaSilva, formerly the star of Trey McIntyre Project, showed up as a member of a pack of black-mesh-and-leather-clad would-be rave kids, gyrating tonelessly in the background of a garish nightmare story ballet? This program was neither bright, new, nor an adventure, just a thoroughly disappointing look at what Lubovitch’s 46-year-old company has been reduced to—and what its terrific dancers are contending with.
-h-o-s-t c-r-o-w-n (working title) begins like a ballet gone wrong—Rebecca Warner and Natalie Green repeat classical vocabulary interminably, as though possessed or as though they have forgotten the next step and are desperately trying to summon it via muscle memory. A live (exceptional) musical trio pipes in, led by an eerie, almost familiar violin. As Warner flies across the stage in heroic sissone after heroic sissone, I think I’ve seen this work before.
Then the choreography doesn’t change. And when Green is still waving her arms like a dying swan several minutes later, with Warner still arcing through the air, RoseAnne Spradlin’s singular sensibility emerges. For the next hour, we’re presented with vibrant images, each totally distinct, none explicitly connected. (In conversation after the performance, I compared something of the work’s structure to tapas.) There are perhaps a total of ten dance “steps”, four or five spatial tracks, one literal monument. We see a sped-up black-and-white 1931 film, with a plot that whizzes past too quickly to fully surmise, and it gets our undivided attention, uninterrupted by movement except that of the spinning, glimmering sculpture by Glen Fogel, constantly present, never commented upon.
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.
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.
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.