By Robert Greskovic New York City Ballet’s slightly COVID-delayed spring season in late April began with a large-scale revival: The Goldberg Variations, Jerome Robbins’ 1971 90-minute showcase of classical dancing. The ambitious undertaking, involving dancers from all ranks of the company, shone impressively, as Robbins’ scheme goes from classroom-styled moves to a grand courtly display.
By Kaija Pepper Yvonne Chartrand has been steadfastly bringing her welcoming vision to the stage through her small Vancouver company V’ni Dansi since 2000. The name translates as “Come and Dance” in Mitchif (the language spoken by the Métis) and this invitation to share is felt throughout her body of work. V’ni Dansi’s latest production,
By Elaine Gaertner For Joysanne Sidimus, the path to becoming a repetiteur for the George Balanchine repertoire began in 1969 while she was a principal dancer with the newly formed Pennsylvania Ballet. That’s when she first staged Serenade, a ballet she had performed numerous times as a corps member with New York City Ballet, and