Christina Pandolfi

'Wonderland' was originally presented as a half-evening work in 2010, but this is the first time it will be seen by New York audiences in its full-length version.

It’s true what they say: everything old is new again. Ballets from a past time are reinvigorated and rejuvenated when today’s dancers take that form and breathe new life into it.

Ballet dancer, choreographer, author, pop star, content creator: James Whiteside does it all. Formerly with Boston Ballet, Whiteside was named Principal Dancer with American Ballet Theatre in 2013, and hasn’t slowed down since. A prolific standout in the company, synonymous with roles like Solor in La Bayadère and the Prince in Ashton’s Cinderella, Whiteside has become just as dazzling a choreographer, with exciting projects around every corner.

What did our critic think of ELEVATE at Kaye Playhouse? For the better part of a century, American Repertory Ballet (ARB) has been the preeminent ballet company of New Jersey. And on March 30th, the company was able to both celebrate this milestone, but also showcase their growing talents as an organization.

Ethan Stiefel and Gillian Murphy are two of the world’s greatest dancers of all time. A bold statement, yes—but one undeniably supported by their decades spent delighting audiences all over the world. Stiefel, singular for his excellence of classical technique and precision; Murphy, for her poetic resonance and bravura, the duo have each made names for themselves that will be long remembered in the history books.

Call it habit, anticipation, excitement. But on the night of February 13th, I arrived to The Joyce early because only Twyla Tharp can bring out the singular energy that was in the room. The air was crackling with enthusiasm, as audience goers bubbled and gushed about the evening ahead.

What did our critic think of CHERYLYN LAVAGNINO DANCE EXPLORES THE FRAGILITY OF EXISTENCE IN NEW PROGRAM at The Jack Crystal Theater?

World-renowned photographer Mark Mann threw an incredible party Monday night. Held at the historic Joyce Theater, Movement at the Still Point: An Evening of Dance celebrated Mann's new dance photography book with a night of enchanting performances. Ranging in styles from ballet to modern to Broadway to vogueing, it was a night that won't soon be forgotten.

Mark Mann has photographed everyone. Google his name, and you will find hundreds of famous people he has exquisitely captured through the lens of his camera. Actors. Musicians. Presidents. Literally everyone in the public consciousness. But perhaps his greatest undertaking was during the COVID-19 lockdown, when he could no longer work as he used to. “I thought I had this creative block,” he shares of the time. “But [really], what I did was taken away from me.” So, he turned to Loni Landon, a respected contemporary choreographer—and his sister-in-law—and the two joined forces to celebrate a group of artists who too had their craft taken away: dancers. And what was created? His new, fabulous coffee table book, Movement at the Still Point: An Ode to Dance.

Do you remember the first dance performance you ever saw? What did you feel? What moved you? That natural love for dance and movement served as inspiration for American Repertory Ballet’s program, Movin’ + Groovin’ on March 25th at the Kaye Playhouse. The first NYC performance under Artistic Director Ethan Stiefel, the company’s talent was featured in three original works by talented choreographers Ja’ Malik, Caili Quan, and Claire Davison.

Ethan Stiefel is a household name. Considered one of the greatest American male ballet dancers of all time, it was Stiefel's explosive energy that lit up countless stages all over the world. But since his retirement from American Ballet Theatre in 2012, Stiefel has dedicated his artistic life to inspiring the next generation of dancers. As Dean of the School of Dance at UNCSA, to Artistic Director of the Royal New Zealand Ballet, Stiefel has helped shape the present—and future—of dance as we know it.

It's no secret that Stephen Petronio is a pillar of the dance community. Since his early days working with Steve Paxton and Trisha Brown, Stephen Petronio has been creating, dancing, and sharing his gift with the world, challenging audiences to expand their expectations and tap into the immensity of possibility. 'In the 1980s, [being vocal about] being queer was...not that usual, so I wanted my queerness to be in my body and in my style...I [also] think popular culture was very much on my mind because it was in a moment that I thought dance could break through to a different audience.'

What did our critic think of WADEintoACTIVISM EXPLORES THE POSSIBILITIES OF DANCE'S GREATER GLOBAL IMPACT?

What did our critic think of REVIEW: SARASOTA BALLET BRINGS THE DRAMA TO THE JOYCE at The Joyce Theater?

What impact does social class have on the relationships we forge with other people? And what becomes of those relationships when forces beyond our control take effect? These are a few of the many questions examined inThe Orchard, a modernized, high-tech adaptation of Anton Chekhov’s The Cherry Orchard. Shown at the Baryshnikov Arts Center, the cast is led by the man/myth/legend himself, Mikhail Baryshnikov, and the strikingly-sophisticated Jessica Hecht.

They say the neon lights are bright on Broadway. On May 23, 2022, Town Hall’s tribute to show business of the past—BROADWAY BY THE YEAR—proved just that. From the glitz and glamour of the musical revue, to updated standards from beloved jukebox musicals, this one-night-only spectacle delivered on powerhouse vocalists, exciting dance numbers, and a celebration of “everything old is new again.”

It’s been a long 2 years. The world has been in a constant state of uncertainty, as we still find ourselves in the midst of social, political, and medical turmoil. Yet art, in all its forms, is both the mirror and the escape for these collective woes. It shows us who we are, helping us make sense of our reality. But it also allows us to succumb to pleasures of the senses, even if only temporarily, to bask in what could be. With such a tried-and-true legacy at The Joyce Theater, Stephen Petronio Company returned to the familiar on May 17, 2022 to remind us all of just that, exemplifying that “dance is a kind of social glue that keeps all us connected.”

It’s weird and wonderful to be in the theatre again. These days, everything looks different—the way you enter; IDs and vaccine cards in hands, security guards keeping everything in order. But once I step into The Joyce Theatre to see Complexions Contemporary Ballet, it all felt perfectly familiar. Fellow art lovers, buzzing about, expressing their excitement and passion all behind masked faces. A compilation of contemporary music flooded our eardrums before the start of the show. Perhaps an unexpected choice at first listen, but as ‘Losing My Religion’ played, it all made perfect sense to frame what we were about to see.

During this present time of great cultural and political strife, the world at large is yearning for humanity—for honesty, for truth, and for authentic connection. It's why more so than ever, creators are inspired to bring this to life in their chosen mediums to give audiences a greater sense of meaning. At this year's Association of Performing Arts Professionals presentation (APAP), Cherylyn Lavagnino Dance (CLD) did just that. Lavagnino, the company's artistic director, explained to the audience how she first finds her inspiration through music and creative collaboration to bring this sense of authentic connection to the stage.

The word “romantics” is defined in many ways: “a person with romantic beliefs or attitudes,'; “a writer of the romantic movement,'; “having no basis in fact.' Despite the different definitions, the concept of romance is always rooted in a feeling of extreme love and passion. And it's this exact kind of feeling that the company of American Ballet Theatre brought to the stage to make a statement about what romance means—and looks like—in the 21st Century.