As 2021 closes out, I thought I’d informally update those who are interested in my work on what I’m up to. I’ve written a lot of short fiction in 2021–a story draft per month, actually. Some were keepers, some not. Now I...
The summer 16 issue of Ballet Review is out. The editors have kindly allowed me to republish my report on San Francisco Ballet in William Forsythe’s “Pas/Parts 2016,” which the company will perform again next spring...
The lifelong ballet-addict in me can’t resist commenting, especially on the charismatic gifts of Esteban Hernandez and Julia Rowe. Here are my notes, on Medium, with photos.
What a wild month May was. I unexpectedly wrote two Sunday Profiles for the front page of the San Francisco Chronicle, published within a few weeks of each other. First, what was originally assigned as a shorter feature became a tale of...
I am so deeply grateful for the chance to write about Batsheva Dance Company in “Sadeh21” for the Hudson Review. To be given the space (3500 words) a work of art like this deserves is rare, and to have an opportunity to explore how...
It’s hard to do Alexei Ratmansky’s Shostakovich Trilogy justice, but I was so knocked out by it last year that I had to try. This is a review I wrote of last year’s San Francisco Ballet premiere timed to serve as preview for...
A bit of time has passed since I’ve posted any updates about what I’ve been working on. –I talked with photographer Lucy Gray about her new book Balancing Acts, which follows three superlative ballerinas (Tina LeBlanc, Katita...
San Francisco Ballet Gala January 22nd, 2015 War Memorial Opera House Last night the San Francisco Ballet opened its 30th season with Helgi Tomasson at the helm with an onstage toast to his accomplishment: The transformation of a charming...
“San Francisco’s Postmodern Dance Pioneers”: a consideration of ODC and Margaret Jenkins Dance Company’s home seasons, just out in the latest Hudson Review and on the review’s website, with video clips.
I’ve gathered my arts journalism clips into a portfolio here at Contently.
Ohad Naharin is quite simply one of the foremost artists of our time, and for years now I have looked forward to the return of Israel’s Batsheva Dance Company, which he has helmed since 1990. I was pleasantly astonished that Naharin was...
The Critical Dialogues experiment continues, this month with Pearl Marill: “WHAT IF, rather than writing a review, a critic sat down with a choreographer to have a two-way conversation about the work? That’s the experiment behind Critical...
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