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.
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.
Annabelle Lopez Ochoa
Freelance choreographer Annabelle Lopez Ochoa shares how she became a choreographer, how she continues to make a name for herself, and the importance of networking and self-promotion.
Choreographer Christian Spuck (Stuttgart Ballet) talks about his choreographic influences, shares frustrations with the ballet world, and describes what characteristics he prefers in the dancers with whom he works.
Ballet Hispanico Artistic Director Eduardo Vilaro stresses the importance of educational outreach and shares his thoughts on why dance is worth fighting for.
Sidra Bell discusses her perspective on the artistry of dance and her creative approach to it.
Christopher Wheeldon speaks about being a classical choreographer in today’s market, what he wants people to get out of his work, and why he left New York City Ballet to pursue his own vision.
Dresden Semperoper Ballett principal dancer Yumiko Takeshima discusses highlights from her career and how it motivated her to start her own dancewear company.
Choreographer Matthew Bourne talks about making dance accessible, commercial success, and re-creating classic stories by making them relevant for today.
Royal Ballet of Flanders artistic director Kathryn Bennetts shares how she turned a career ending injury into an opportunity, her 13 years as ballet master at Ballet Frankfurt, and her role in building the company’s international reputation.
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.
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.
Christopher Wheeldon shares the story of his move from London to NY, joining NYCB and his transition from dancer to choreographer.
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.