Juan Michael Porter II

Georgina Pazcoguin, the scintillating New York City Ballet soloist, Broadway star, activist, and culture leader is moving on from performing to focus on producing Broadway shows and building a world where Asian American artists can thrive.

Today would have been Willy Burmann's 81st birthday. In celebrating his life, I felt that it was essential to speak with Miro Magloire, the artistic director of New Chamber Ballet. Miro was Willy's friend, confidante, and preferred pianist for class.

Ballet's sage, Wilhem “Willy” Burmann died yesterday at 80 from complications linked to the current pandemic. After a lengthy performance career, he devoted himself to teaching ballet, serving as coach to numerous stars including Julio Bocca, Alessandra Ferri, Wendy Whelan, and Herman Cornejo.

Alejandra Duque Cifuentes, Executive Director of Dance/NYC reveals how the organization's Dance CRF was established and how you can make sure that your voice is heard during this crisis.

COVID-19 has forced all of us online to connect with each other. Kerime Konor spoke with me about the new reality this situation has created and the ambivalence she feels about the constantly streaming display of dubious information and clueless privilege.

​​​​​​​What a difference proper programming can make. February 6th's NYCB Classic's I featured an array of gems and pleasure.

Strange programming makes for a daffy afternoon at City Ballet with a curation of pieces that do not go together. 

I am pleased to kick off BroadwayWorld Dance's 2020 Black History Month Celebration by honouring the incredible Emmy, Grammy, Tony, & Drama Desk award-winning, multi-hyphenate creative André De Shields!

Hallelujah then for Ashley Bouder in 'Firebird' whose astounding technique combined with Stravnisky's score to dispel the evening's malaise.

As 2020 approaches, a new appreciation of male virtuosity demands consideration. Possibilities for dancers have exploded over the last decade as extreme stretching and acrobatics have come into vogue, though not always for the best. While circus tricks and random moments now seem to rule the stage, not all 'innovation' has been destructive for men. Where once trying to play it straight was the norm, this generation of performers gives zero fux for anything other than staying true to their artistry and health.

If an audience is full of Black, Brown, Asian or whatever color people, you as a director will think twice about programming La Bayadere or Petrushka. I really believe that.

'If you ask me if a traditional Swan Lake at the Mariinsky can have a black girl in the corps de ballet, I can tell you honestly that I don't have the answer. But I feel like telling you no.' JC Maillot

After experiencing a performance like last night's one yearns for another 1000 years of revelations. In keeping with honouring the affiliated school's anniversary, it feels comforting to know that there is a clear pipeline for keeping the company strong. Here's to a continued vision of strength in 2020.

“Mr. Ailey had this notion that a dancer needed to know or understand multiple techniques and styles,” she explains. “He was ahead of his time in that regard. Without realizing it, he was thinking about the future o

On the cusp of Nimbus Dance Works' 15th Anniversary season, artistic director and former Martha Graham Company soloist, Sam Pott, spoke with me about his company's new building and endless pursuit of fighting for greater support of the arts. The only question I had was, 'Why aren't more people talking about Sam Pott?'

Watching Ballet Hispánico perform at The Apollo Theatre on November 22nd made one aware of how much there is to feel thankful for in this politically tumultuous time where Latino cultures are frequently maligned by those currently skulking in the White House.

The company soared in DeJesus' soulful pas de deux from 'Bittersweet'. Perhaps it was Oleta Adams' stirring voice, or maybe it was a relief after having finished Tabernacle, but Mayzik was nothing short of amazing in this sexy pas de deux with Sarita Apel.

Tiffany Rea-Fisher has a command of the company style, an extensive network of connections, and understands how to engage the crucial youth demographic that is the lifeblood of any evolving company (without alienating the longtime, and aging fanbase.)

Fifteen years, two goodbyes, and a reunion of dancers: that's how Miro Magloire celebrated the 15th season of New Chamber Ballet. Those goodbyes included founding member Elizabeth Brown and ten year veteran Sarah Atkins, both of whom have blessed the company with virtuosity and spiritual purity in their dancing.

A packed house, even on a rainy Sunday afternoon in NYC, speaks of great success. It also indicates the respect that Vangeline commands as an artist and missionary of Butoh. In recent years her audience and recognition have expanded in appreciation of her efforts to bring Butoh into the 21st century.