In 2012, then-Atlanta Ballet artistic director John McFall announced a three-year partnership with Israeli choreographer Ohad Naharin in an effort to modernize ...
For a century and a half, a handful of Russian classical ballets have been staged, restaged, reworked and reimagined. A testament to the staying power of aristo...
Make no mistake: the tides have shifted at Atlanta Ballet. Since Gennadi Nedvigin, a celebrated dancer with San Francisco Ballet, took the reins from 21-year ve...
“O Fortuna,” the iconic opening and closing section of Carl Orff’s "Carmina Burana," is huge. Not Trump-speak “huge,” but huge in the way of crushing tsunamis, ...
In a final tribute to John McFall’s 21-year legacy as Atlanta Ballet’s artistic director, the company’s 2015-16 season closed with MAYhem: Kissed, a triple bill...
Five years after its much-anticipated world premiere, Twyla Tharp’s The Princess and the Goblin has returned home. Created for Atlanta Ballet in 2012 and co-com...
Atlanta Ballet's Kiara Felder (left to right), Alexandre Barros, Nadia Mara and Benjamin Stone in "Boiling Point." (Photos by Charlie McCullers)
Now nearing t...
Here’s an impossible question: How does one design a two-day contemporary dance festival that is both palatable enough to hook would-be patrons and innovative e...
Atlanta Ballet's Nutcracker is filled with a newfound urgency due to the upcoming retirement of artistic director John McFall. (Photos by Charlie McCullers)
I...
Ofir Nahari, the clown performance artist, takes on Dionysus. (Photo by Asher Svidensky)
When he steps out of the car wearing sharp aviator sunglasses, his th...
