Dancing Shakespeare’s Dark Lady
September 25, 2022
How Elizabethan: The new and old of Nashville Ballet’s “Black Lucy and the Bard” on PBS’s Great Performances.
How Elizabethan: The new and old of Nashville Ballet’s “Black Lucy and the Bard” on PBS’s Great Performances.
Set on a slave ship, the highlight of the company’s performance in White Bird’s We Are One Festival is a ballet by turns gorgeous, gut-wrenching, subtle, sad, dynamic, and celebratory.
Oregon Ballet Theatre’s dancers cut loose spectacularly, and the audience cheers to see live performance once again.
The Seattle ballet star Noelani Pantastico reflects on her long dancing career and her move into teaching the next generation.
Preview: Choreographer Ben Stevenson’s version of Bram Stoker’s classic vampire tale takes to the sky with high romance and lavish design.
On the move: Memoirs by Mark Morris and Carol Rich, Victoria Fortuna’s exploration of dance and violence in Buenos Aires, the legacy of a Russian master.
Generations meet and play when the Keylock company’s young dancers take on the witty choreography of Oregon legend Bielemeier, 71.
Back in the theater for the first time since February 2020, the company shows fine form in a program highlighted by Balanchine’s classic “Four Temperaments.”
The ballet company, disrupted by Covid and an abrupt change in leadership, opens a new season on Friday.
A Portland gathering honors the great writer Ursula K. Le Guin. Here’s what one of her best friends had to say.
On an April evening in 1944, a young dancer from Portland made history in Jerome Robbins’ first ballet.
The great American ballet star, who has died at age 86, was also a great teacher and a great human being.
Dance on screen: It’s not the same as watching a live performance, but when theaters are shut down, it’s a balm.
Dance critic Martha Ullman West looks back on a year of isolation and remembers moments of beauty that broke the spell.
Martha Ullman West remembers Oslund, the Oregon dance legend, who has died at 72.
Oregon Ballet Theatre lights the fireworks with Forsythe, Balanchine, and the dazzling return of “Scheherazade.”
“Dance like you’re real people,” Trey McIntyre told the original cast members of his Robust American Love when he made it on Oregon Ballet Theatre for the 2013-14 season. McIntyre’s take on the real people, particularly the women, who settled the American
Chauncey Parsons, long dark cloak whipped behind him by the speed of his movement, makes an anguished, running entrance onto the Keller Auditorium stage, which is set as a medieval German graveyard, and flings the cloak aside as he kneels before Giselle’s
On Thursday night I made my way down seven flights of cement steps in my building, plus God alone knows how many ditto steps leading from the Park blocks down to the Newmark Theatre, to see Parsons Dance, White Bird’s tenth show
When does the personal become the universal? That is one of several questions raised by Minh Tran’s Anicca (Impermanence), the Vietnamese-born choreographer’s first new piece in eight years, which premiered on Thursday night in Reed College’s Massee Performance Lab. Two years in
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