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An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

Sofia Coppola's film closed on a note of optimism. The message seemed to be: “Normality is just around the corner. We’re coming back.” 

Pacific Northwest Ballet's Rep 1 delivers a magnificent first installment of their 2020-2021 virtual season.

In her first work for the Covent Garden main stage, based on the life of Jacqueline du Pré, choreographer Cathy Marston explores the profound bond between musician and instrument.

The ending of Stars and Stripesis a sure-fire applause machine. The lowering of the flag while all the regiments march and salute onstage is so corny that only Balanchine could have choreographed it with a straight face. And yet it worked in 1958 and it works in 2019. 

When de Luz reached down and laid his hand on the floor in the final Nocturne, it suggested to me that, on this night and with these dancers, the stage was sacred ground.

Dances at a Gathering is a ballet that we never get tired of because it speaks to enduring truths and its pull of nostalgia only gets stronger as the years pass.

An all Robbins program at New York City Ballet is one of my favorite things.

San Francisco Ballet pairs Possokhov’s irresistible multimedia dazzler “Swimmer” with Robbins’ elegant “Dances at a Gathering”, for a compelling night of dance.

Jerome Robbins’ note to himself during the making of Dances at a Gathering reads, "Never make up a step. Always make a sequence of movement.” 

La représentation s’est ouverte sur le défilé de l’école de danse et du ballet, cortège pompeux et bien hiérarchisé de danseurs qui progressent en rang les uns après les autres, en costumes académiques et tutus blancs. L’exercice soumet les étoiles de l’Opéra, qui saluent seuls, au jeu cruel de l’applaudimètre et n’est pas toujours le bon reflet de la qualité de leur performance.