Koch Theater Lincoln Center, NYC January 28, 2012 Christopher Wheeldon’s Les Carillons met and at times surpassed many expectations as the sole world premiere in New York City Ballet’s winter season, on the company’s first all-Wheeldon program. The dance showed Wheeldon’s flair for structural invention, dynamic and emotional range, and musical wit. In the first […]
Morphoses/The Wheeldon Company New York City Center, NYC October 29–November 1, 2009 Reviewed by Susan Yung Wheeldon’s Continuum. Photo by Erin Baiano, Courtesy Morphoses. There is much to embrace about Morphoses, which celebrated the collaborative spirit of the Ballets Russes this season. Artistic director Christopher Wheeldon’s affable pre-curtain speeches make you feel like a friend […]
As the anticipation builds up toward the NYC debut of Christopher Wheeldon’s new company at City Center this week, The Guggenheim’s Works & Process series invited him to show and tell last night (and tonight). He just keeps making beautiful stuff, particularly duets. What is amazing to me is that his dances are infused […]
“I want the best dancers I can get who are interested in having a voice in the artistic choices. Dancers are special people, and it’s easy to lose sight of that when you’re in the environment of a big company.”—Christopher Wheeldon on his kind of dancer, interviewed by editor in chief Wendy Perron in August’s […]
There is an explosive energy to Michael de la Nuez’s dancing that will not be denied. In Christopher Wheeldon’s Like Water for Chocolate during American Ballet Theatre’s summer season, he sliced through the air like an arrow and spun like a top, equal parts bravura showstopper and clean classical dancer.
Two new movie musicals—Wonka and The Color Purple—hit theaters this month, featuring choreography by big-deal dancemakers.
In 2021, during Mayara Magri’s 10th year with The Royal Ballet, director Kevin O’Hare promoted her to the company’s highest rank. But Magri’s work is far from done.
From her first audition with The Joffrey Ballet, Amanda Assucena knew she was where she was meant to be. “Before the audition class, I had never connected with ballet technique and free movement so much,” Assucena recalls. The Brazilian-born dancer officially joined the trainee program in 2012, was promoted to company artist the following year, and continued her meteoric rise with lead roles like the Sugar Plum Fairy in The Nutcracker and Juliet in Romeo and Juliet by the age of 19.
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