'Venezuela,' by veteran Batsheva choreographer Ohad Naharin, is intriguing and features superb dancers, but is less fully realized than his other efforts
In ‘Common Emotions,’ Yasmeen Godder once again explores new territory, this time by getting the audience involved. Unlike much of her previous work, this piece has a relaxed and playful feel.
Mor Shani and the Inbal dancers have created a melting pot of folk dances through the ages. While some elements of ‘Simple Dance’ fall short, overall it’s a refreshing piece, complete with violent moves bordering on the erotic.
Avshalom Pollak’s ‘Slug’ is polished and enjoyable, though Inbal Pinto’s choreography is missed. Lighting designer Yoann Tivoli provides the evening’s real highlights.
In its new program, the Israel Ballet danced two versions of ‘Swan Lake,’ and choreography and performance were marvelous in both. But the real stars were the ensemble dancers
In this work, the movement language is nourished by Ohad Naharin’s Gaga, but colored by a world of images reflecting the tempestuous personality of Sharon Eyal.
In vivid contrast to its title, 'Wallflower' is a subtle, precise and highly imaginative dance performance.
Itzik Galili's new work, with the theme of power and the pursuit of momentary glory, does not allow the audience to sit back comfortably.
Beyond the movement language and the superb performances by Batsheva Dance Company’s Young Ensemble, these two works together create an enchanting evening of modern dance.
The dancers are good – in some cases excellent – and the execution generally polished, so the Israel Ballet’s ‘Cinderella’ looks professional. Still, there is the sense of a missed opportunity.
In his first major solo show, Dror Liberman displays honesty and talent as he depicts parts of his life story growing up in a large religious family.
Batsheva’s latest work choreographs stories of love for the body and the tales it can tell, and is one of Naharin’s finest creations.
The U.S. dance company performed four works at the Tel Aviv Opera House last week – and three of them were fantastic.
Itzik Galili's dance work shares a stage with that of Tamir Ginz. Galili's is devoted to the flow of the body, and lovingly breathes with it; Ginz's highlights the pain of people who live under perpetual threat.
Three acclaimed artists collaborate in a new show by the Vertigo Dance Company, exploring old and new in post-modern dance.
'Blackout,' choreographed by Rami Be'er and based on a poem by Amichai, is a daring choreographic work.
In her new work, 'Lie Like a Lion,' dancer and choreographer Yasmeen Godder shifts between past and present, igniting memories.
‘Killer Pig’ and ‘Sara’ reveal both passion and delicacy. It’s a pleasure to see the fluency of their L-E-V troupe.
Matthew Bourne’s version of Tchaikovsky’s ballet is a witty encounter between the classic work and issues of contemporary society.
Choreographer Ohad Naharin’s imagination works overtime as he explores the universal language of movement.
The dancers are the real gems in Vertigo’s new work, ‘Reshimo,' an aesthetic experience that projects an energetic sense of continuity.
In his dance work 'Undivided Void,’ Rami Be’er elevates his composition to the pure essence of a master.
Virtuoso dancers alternating with superb illustrations, ‘Dust’ stunningly imagines the aftermath of a tsunami.
In 'Bodyland’ at Suzanne Dellal Center, dancers play France, Germany, Denmark, Israel and Palestinian Authority.
Dance heavyweight Emanuel Gat's new show explores art as the gradual, lifelong construction of a state of wonder and serenity rather than the release of momentary ejection of adrenaline.
The feted Israeli choreographer's latest work, now showing at Tel Aviv's Dellal Center, plays with perspectives, gender, and features characteristic ambiguous ending.
Yoni Soutchy's work 'Duck,' showcasing the fluid movements of Oryan Yohanan and Michal Gil, is more than a testament to the complicated relationship between man and beast. It is a deeply interpretative work of art.
Unlike other artists who want to create lab-like conditions, and use a white space with a floor, walls and harsh lighting, Roy Assaf's space is black, which may reflect his mood.
The unique Room Dance Festival returns with displays of flexibility, elegance and coordination - in short, a celebration of the human body's movement.
The stunning work of choreographer Itzik Galili reminds us of the company's glorious past and has us once again optimistic for the future.