Entering its 53rd season, the Boston Ballet is focusing on its future, with two recent announcements to entice its audience: a new work for 2017-’18 by Wayne McGregor and a five-year partnership with choreographer William Forsythe.
From its conception 38 years ago, the company has strived to be engagingly diverse and inclusive of different mentalities with a repertoire of pieces choreographed mostly by women.
The living is not always easy for the fictional artists of television. Taking a look at “Flesh and Bone” and “Mozart in the Jungle” — and remembering the great “Slings & Arrows.”
In its fourth production of the ballet, the company exquisitely stages the story of country girl Tatiana falling in love with Onegin, a sophisticated visitor from St. Petersburg, based on Pushkin’s story “Eugene Onegin.”
The photojournalist’s new book “Lois Greenfield: Moving Still” celebrates the past 20 years of her dance photography.
Australian-based Circa is in Boston this weekend to perform “Opus.” Artistic director Yaron Lifschitz says it is a creation that looks at how the private/personal/intimate relate to the public/group/political.
“This is the equivalent to what ‘Swan Lake’ is for women: this is ‘Swan Lake’ for men,” says Boston Ballet corps member Shelby Elsbree of the “Third Symphony,” that’s set for Opera House performances Oct. 22 to Nov. 1.
Yes, they far outnumber the men in ballet school. But the opposite is true when you look at who has the top artistic leadership positions in world class ballet companies.
WHAT for Kid’s “The Fool of the World and the Flying Ship” is a sweet way to while away a summer night even if the action is a bit muddled, writes Sharon Basco.
This season’s final program, “Thrill of Contact,” features an engaging and varied quartet of dances, from the familiar George Balanchine “Theme and Variations” to the colorful Jerome Robbins’ farce “The Concert (or, the Perils of Everybody).”