Johnny Loves Johann, unevenly at the Joyce Theater

Johnny Gandelsman, John Heginbotham and Jamar Roberts in Johnny Loves Johann

Melissa Toogood, John Heginbotham, Jamar Roberts, Johnny Gandelsman and Caili Quan

Johnny Gandelsman, Melissa Toogood, John Heginbotham, Jamar Roberts and Caili Quan

Johnny Gandelsman and Jamar Roberts in Johnny Loves Johann

John Heginbotham and Johnny Gandelsman in Johnny Loves Johann

Par Carla Escoda, 15 avril 2026

Chargement en cours, veuillez patienter...

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“Along the way, distinct dance personalities crystallized and a few entrancing encounters took shape”

Critique faite à Joyce Theater, New York, le 14 avril 2026

Johnny Loves Johann (John Heginbotham, Caili Quan, Jamar Roberts, Melissa Toogood)

Johnny Gandelsman, Violon

Alvin Ailey American Dance Theater in Atlanta: simply spellbinding

Rebecca Ehrhardt, 15th February

At the start of an ambitious cross-country tour, Alvin Ailey American Dance Theater is transcendent at Atlanta's historic Fox Theatre.

*****

Foreseeable Future is aimless movement to aimless music at NYCB

Ivy Lin, 9th October

Some excellent individual performances but a disappointing program for Contemporary Choreography I with New York City Ballet.

**111

NYCB's Sara Mearns charts her next act?

Ivy Lin, 4th April

New York City Ballet's Sara Mearns proves that she is a natural contemporary dancer in a self-curated double bill.

****1

Martha Graham does Americana

Ivy Lin, 3rd April

Janet Eilber has done an amazing job of steering the Martha Graham Dance Company into the modern age with multiple mixed programs.

****1

BalletX: Jamar Roberts and Jennifer Archibald top an uneven mixed bill

Carla Escoda, 27th September

BalletX, a contemporary ballet company that prides itself on its diversity and its commitment to commissioning new work, brings an ambitious and mostly successful mixed bill to the Joyce Theater.

****1

Illness and injury make for a threadbare program in New York

Ivy Lin, 1st May

Partita has emerged as one of the stronger Peck ballets. If we see more Partita and less Principia, that’s a good thing.

***11

Plus de critiques...

Carla Escoda

Born in the Philippines, Carla trained as a ballet and modern dancer with the Alice Reyes Dance Company in Manila. She has lived and worked in Asia and the U.S. and has written about the arts for Bachtrack, KQED (the northern California public media broadcaster), Dance International, dance journal/hk, the Huffington Post, Dance Europe and ballettothepeople.