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A Class Act
REVIEWS | Faye Arthurs

A Class Act

A ballet career necessitates lifelong scholarship. Professionals take a daily technique class that begins with the same pliés at the barre as absolute beginners. Most days at the School of American Ballet, New York City Ballet members are tucked into in a corner of the studio, honing their tendus alongside the top divisions.

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Liminal Moves
REVIEWS | Rachel Howard

Liminal Moves

Jessica Lang is smack in the middle of a three-year stint as resident choreographer at Seattle’s Pacific Northwest Ballet. It’s an excellent artistic match that deserves to be followed closely, because both Lang and PNB merit a higher national profile.

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Golden Hour
REVIEWS | Robert Steven Mack

Golden Hour

The close-knit ballet scene in San Diego was dealt a blow when California Ballet, the company Maxine Mahon founded in 1968, folded in 2020. Insiders tell me the pandemic wasn’t entirely to blame, but since then, Golden State Ballet, still wet behind the ears, has risen in its place.

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Divine Summer

Divine Summer

Now in its fifth year, Lincoln Center's “Summer for the City” festival is going all out for dance. This year, the festival will inaugurate the much-anticipated Lincoln Center Contemporary Dance...

Performance

“Inayat: A Duet for Four” by Tarini Tripathi and SAZ trio, choreographed by Gauri Sharma Tripathi

Place

Summer in the City Festival, Lincoln Center, New York, NY, June 2026

Words

Karen Greenspan

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Die Another Day
REVIEWS | Gracia Haby

Die Another Day

In defiance of the stars overhead, and destiny foretold, Joseph Caley’s Romeo falls, and utterly so, for Grace Carroll’s Juliet, on the opening night of the Australian Ballet’s Melbourne season of John Cranko’s “Romeo and Juliet.”

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Young at Heart
REVIEWS | Eoin Fenton

Young at Heart

It’s hard to think of a company as fresh as Rambert at one hundred years old. The company, founded by icon of British dance Marie Rambert, has prided itself on being the leading contemporary voice within the UK.

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Mind Palace
REVIEWS | Rebecca Deczynski

Mind Palace

The void will appear soon, we are told, to invite us into an hour-long escape. The pre-show announcement is more poetic than prescriptive: “We are not islands scattered in a melancholy dark sea,” the voice of god adds, and shortly thereafter, the curtain rises on BalletCollective’s latest work, “Translation,” choreographed by founder Troy Schumacher.  

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A Rose is a Rose

A Rose is a Rose

A dancer’s lineage can tell you a lot. The places they’ve trained, the mentors they’ve had, the repertoire they’ve inscribed into their long-term memory all have an impact on the...

Performance

Ballet Rose “Made in Miami” with choreography by Ariel Rose

Place

Florence Gould Theater, New York, NY, June 13, 2026

Words

Rebecca Deczynski

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Hymn to an Uncommon Man
REVIEWS | Faye Arthurs

Hymn to an Uncommon Man

OG Anunoby’s fingertip putback of Jalen Brunson’s Hail Mary three-pointer. Jordan Staal’s diving sniper goal. It’s playoff season, a time of year dominated by unbelievable, high-stakes athleticism across several sports (see also the French Open, the FIFA World Cup).

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The Perfect Storm
SCREEN DANCE | Sarah Elgart

The Perfect Storm

When is a music video also a dance film? This is a question that I’ve often asked myself as a result of the propensity amongst curators, speakers, museums, arts institutions and more to sort, arrange, label, and otherwise categorize works that contribute to popular arts and culture.

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A Thing with Feathers

A Thing with Feathers

To launch her tenure as artistic director for the National Ballet of Japan, Miyako Yoshida added Sir Peter Wright’s “Swan Lake” (with Galina Samsova) to the repertoire, explaining the choice...

Performance

National Ballet of Japan: “Swan Lake” by Peter Wright

Place

New National Theater Tokyo, Japan, June 7, 2026

Words

Kris Kosaka

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Back to Nature
REVIEWS | Gracia Haby

Back to Nature

In the forest, it is never silent. Everything is in transmission with something else, be it tree roots to soil, plants to animals and insects, or warning cries that ripple through the forest when predators approach.

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Crossing the Line
REVIEWS | Gracia Haby

Crossing the Line

At the vertical and horizontal intersection of two white lines on a darkened stage, performer Layla Meadows and her corresponding organic outline appears. For this restaging of “Glow,” a work choreographed by Gideon Obarzanek for the Melbourne Festival in 2006, it is Meadows’s time to be scanned and surveyed in this duet between a dancer and a machine.

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City of Dance
FEATURES | Victoria Looseleaf

City of Dance

With its “sprawl to the wall” density, the city of Los Angeles seems a good fit for democratizing dance, i.e., presenting site-specific movement in an array of venues—both indoors and out—all free to the public. Indeed, Benjamin Millepied, the founder of L.A. Dance Project, began the series in the French capital with his Paris Dance Project in 2024, then called La Ville Dansée, with the idea of exporting it to his adopted city in a co-production.

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In the Galleries
FIELD NOTES | Candice Thompson

In the Galleries

In Maia Chao’s “Being Moved,” the audience was ushered up to the 7th floor of the Whitney Museum of American Art in a large, crowded elevator with all sixty or so passengers carrying on conversations at maximum volume.

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Stars and Stripes

Stars and Stripes

They’re saucy, sweet and stunning! They’re the ballerinas of American Contemporary Ballet and they’re helping close the company’s 2025-26 season with performances of “Spectacular Balanchine,” a program devoted to the...

Performance

American Contemporary Ballet: “Spectacular Balanchine!” 

Place

Bank of America Plaza, Los Angeles, California, June 4, 2026

Words

Victoria Looseleaf

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