Hannah Land

It’s rare that you come across a new adaptation of a classic text that feels groundbreaking and new while still retaining the heart of the original. But Quixote Nuevo by Octavio Solis, currently playing at the Round House Theatre, is just that.

Ragamala Dance Company’s Fires of Varanasi: Dance of the Eternal Pilgrim is a beautiful, meditative piece that makes the most of the Kennedy Center’s new outdoor space on the REACH campus. For this reviewer it was the first in-person performance since Covid began, and its transportive qualities fulfilled my desire for immersive art in a way that I have been desperately missing.

Ryan Haddad’s one man show Hi, Are You Single?, currently available to stream from Wooly Mammoth Theatre Company, is perfect pandemic viewing.

The Miami City Ballet put on a varied and entertaining performance as part of the Kennedy Center's Ballet Across America on Saturday, June 1, 2019.

I highly recommend Rooming House, even if you normally feel confused or alienated by traditional dance performance. If any company can change your mind, it's Lucky Plush.

The Keegan Theatre's The Baltimore Waltz is a confrontation of mortality, a hilarious farce, an expose of the limits of the medical system, a noir thriller, and crucially, a flawlessly staged and acted production.

Alan Cumming really is a delight.   His cabaret Legal Immigrant, performed at the Kennedy Center on Saturday night, is a seamless blend of music and hilarious anecdote. 

Andromeda Breaks and The City Of... are two great pieces of new writing to add to your Fringe schedule!

Pinky Swear Production's Use All Available Doors is filled with a local pride that Washingtonians rarely get to experience. Unfortunately, this sense of hometown jubilation is hard to sustain through the too-long run time.

The New York City Ballet has completed its annual pilgrimage to the Kennedy Center. This year the venerable company brings an offering of Balanchine, Martins, Peck, and more Balanchine to Washington. The choreography was well danced, and the orchestra sounded excellent. But compared to years past, the simplicity and repetitive nature of this program left me feeling underwhelmed.

Diavolo: Architecture in Motion is an impressive display of athleticism, acrobatics, and grace. It would have been even better if the company allowed the dance to speak for itself.

The Alvin Ailey American Dance Theater began its weeklong stay in D.C. on Tuesday night with a beautiful gala night performance. If you have the opportunity to see this fantastic company, especially its signature piece Revelations, I highly urge you to do so.

The American Ballet Theatre's current program at the Kennedy Center, featuring works by Ratmansky, Robbins, Millepied, and Wheeldon (as well as the full-length Whipped Cream, not covered in this review), is extremely well done but a little uninspiring. It's hard to fault the fantastic ABT dancers, but I was merely appreciative, not enthralled, by most of the pieces on offer.

The Red Shoes is almost more big-budget Broadway musical than ballet. With a sweeping score, dramatic narrative, and lavish production values, Matthew Bourne's production does nothing by halves.

It's a real shame that you can't buy a ticket to a performance of Lotus, an exhilarating night of tap dancing and jazz excellence. That's because the performance was a one-night only, sold out performance full of incredible tap dance and music.

closer(group) is here to challenge how we view dance. This bold, immersive performance will make you rethink the relationship between dancers and audience members.

Catch The Cabinet of Dr. Caligari at Constellation Theatre before it closes. It's an excellent way to experience a classic and a wonderful way to spend a spooky, stormy evening.

The New York City Ballet's technique, grace, and variety of programming is impeccable. The night feels like a quick tour through the dance and music of the past 100 years, starting with the jazz of George Gershwin and ending with the frenetic electronica of Dan Deacon. There's something for everyone here, whether you prefer your ballet classical or contemporary.

Ballet is always beautiful, but too often it also feels inaccessible and outdated. With Ballet Across America, The Kennedy Center banishes these concerns with a program full of relevance and joy. Misty Copeland has brought together three diverse companies who differ in style but share an impressive level of talent and passion. The cumulative effect is a vivid reminder of how effecting ballet can be.

Theatre Prometheus's [gay] Cymbeline is a treat. The company presents one of Shakespeare's most complicated plays with panache, humor, and modern relevance.