By Sanjoy Roy Like voters, audiences can be simultaneously essential, dissenting, and unfathomable. Take the sold-out mixed program by Nederlands Dans Theater at Sadler’s Wells, featuring one old and two new pieces. Everything looked great and was danced brilliantly (a sound reason for the company’s enduring popularity). What about the works? Audiences, fans, and critics
By Sanjoy Roy The Royal Ballet has followed through on the success of Crystal Pite’s one-act Flight Pattern (2017) by expanding it into a full-evening triptych called Light of Passage. All three acts are cast in shadows set against suspended auroras of light, accompanied by the ebb and flow of Henryk Górecki’s Symphony of Sorrowful
By Sanjoy Roy When narrative dance works well, it’s gripping: the story is embodied in the performance. When it doesn’t, it looks like much ado about something or other: we sense the physicality but not the story. Like Water for Chocolate, Christopher Wheeldon’s new three-act work for the Royal Ballet (a co-production with American Ballet