#scottish-ballet

#scottish-ballet

"It's right up there with some of my proudest achievements," she says of the street art. "It's coming up seven years and even with the Dunfermline weather, it's still managed to stay on."

"It took my breath away, because it was something that I really never expected to happen," Felix said when asked about the shoe restoration.

For the Shakers, Dancing is both a means of revelation and a way to do the work of God in the world, Kimerer LaMothe, a dancer and philosopher of religion, said in an interview. To dance is to build heaven on earth.

I felt a sense of injustice that there were so many talented comics that, through no fault of their own, could not take part in standup comedy and I was determined to address that.

This weekend such a moment occurred. I never knew I wanted to see Harry Styles channel Lord of the Dance Michael Flatley in a silk blouson shirt and headband and canter around a stage.

"It has been a bucket-list dream of mine to perform on a New York stage, and I couldn't think of a better way to do that than becoming a part of the 11 to Midnight family," Morris said in a statement.

The event was the following day: we had 250 tickets sold, we'd done so many rehearsals, and inside there were lighting rigs, performers' equipment, shop stock. It was truly heartbreaking. So many businesses lost so much money and time, and now the loss of the space itself is having a huge impact on the wider community.

All this to say that Alexander Whitley can harness the technology that so fascinates him, and equally importantly, that he fully understands, to enhance his primary vocation as a dance maker and produce bewitching work. Unfortunately, Mirror, and its companion piece The Rite of Spring, in the brand new double bill currently at Sadler's Wells East, proved major disappointments.

In Siegfried, the third part of Der Ring des Nibelungen, Richard Wagner shifts the focus away from the troubled world of the gods towards the energy of youth on earth. This is storytelling through opera, where the theatre is crucial and the music sublime.

It was my first attempt at a story ballet, and I was over the moon. I would have somehow made it work with 10 or with 100 dancers. And so, in 1996, Wheeldon started crafting a ballet based on William Shakespeare's comedy "A Midsummer Night's Dream."

This is an absolute beginners course on the foundations of classical ballet and, a single catastrophic line dance lesson aside, it is also the first dance class I have ever attended. I am in the minority. As we take the barre, it quickly becomes apparent that not being able to tell my left from my right will be a significant deficit over the next 16 weeks. This, however, is a tertiary concern.

I've been coming to the Art Series since 2022. The after-party is one of the most fun to go to, and tickets are a lower price than usual for ballets. A friend introduced me to it, and that's what I'm doing now-bringing a friend who's never seen the ballet before.

With 'Dance Reflections,' the idea was to give back concretely to another discipline that still gives us a lot. It's the reason why 'Dance Reflections' is a sponsorship program, but also a curatorial program; that's quite rare for a brand to have.

President Trump overhauled the Kennedy Center's board last year, got himself elected chairman, and installed ally Ric Grenell as president. Then, in December, his handpicked board renamed the venue "The Donald J. Trump and The John F. Kennedy Memorial Center for the Performing Arts" - slapping his name ahead of JFK's on one of the country's most storied arts institutions.

We've been exploring what nightlife looks like in London outside of the traditional nightclubs, and here comes the Barbican with a brand-new late-night party series. The 'anyone can dance' events will be a celebration of diaspora, community and joy, with the Level -1 foyer space turning into a dancefloor open until 3am. The series is kicking off on Fri 20th February with a night curated by Eastern Margins, a collective that celebrates alternative East and South East Asian creativity and culture.

A gala is a gala. It's there to celebrate, not to challenge. So, it's to the credit of Ballet Icons, the organisation behind the annual Ballet Icons Gala, which marked its 20th anniversary at the Coliseum on Sunday, that, side by side with gala staples such as Le Corsaire and Diana and Actaeon, it makes a point of programming new and less familiar works.

Created for the company in 2016, Kahn's Giselle is imbued with inventiveness (this is a daring, dystopian dance-drama like no other), integrity (in the way themes are transposed from the nineteenth-century Romantic-era classic to this reimagining) and impressiveness (the level of commitment from the dancers, whose embodiment makes the work a formidable entity, is outstanding). You can't just watch it. You exist inside it, breathe it in, let it get under your skin.

It's typical for the Joffrey Ballet to seat a mixed-repertory concert near the beginning of the year. But the 2026 edition of such an evening (a series of loosely connected shorter works packaged together), breaks at least one habit. There's nothing new in "American Icons," running two weekends at the Lyric Opera House. Instead, the Joffrey has dug up a range of works showcasing mid-20th century innovation and the porous kinship between ballet and modern dance during that time.

With a familiar narrative, an enchanting storyline, and an enduring message of hope, Cinderella is a ballet that appeals to all generations. Eugene Ballet's production of the classic work this month incorporates the efforts of multiple generations of dancers and staff. Former artistic director Toni Pimble choreographed the production, which is set to Sergei Prokofiev's Cinderella score, performed live by Orchestra Next.