It’s exactly one of the reasons why dance, with its wealth of sensibilities, is a practice broad enough to enrich the senses and stretch not only technique – but emotions – to far-fetched horizons. To some, the burning desire to begin making steps in a dance room comes from quite early on; however, it’s never too late to manifest a passion.

_{Photograph: Antonio Crotti}

At least not for Filippo Pagani, who age 16, had his very first approach to a rehearsal room. Born in a small town near Bergamo and now hailed in Berlin, he had a box full of fabrics while growing up, which he used to put on. “I played all kinds of music back then,” he recalled, his face filled with excitement. “I was just looking at myself dancing in front of a mirror, having fun as a kid; my mother saw me doing that a few times, and she once asked if I wanted to study dance but I said no because I was scared, coming from a narrow-minded provincial town.” ​

Pagani’s primary school teacher was a ballet dancer and worked at the school as a PE tutor, encouraging him to take classes, which he refused to attend. “I said no, because in that provincial reality one always thought that being a dancer meant being gay,” he reflects, pausing momentarily. A friend of his spoke to him about a project in a school play, where all he had to execute was a brief dance sequence.

_{Photograph: Antonio Crotti}

“It was so fun!” Pagani exclaimed, “so after that time, I remember I kept doing this project inside school. And then from 14 years old, I decided to do this dance training very seriously.” Pagani started his path in a private school, soon moving to a bigger institution, connected with the smaller one. “I did that at 16, but my classmates were already on a higher level and I wasn’t,” he recalls. “I had no clue of the technique, of the positions or anything at all.”

Fast forward to 2019, he moved to the Berlin State Ballet school and graduated in 2022. “In these three years, the pandemic happened and many things were locked down. So the process of integration and preparation of performances was really, really hard,” he says. “It was also not helpful for me because I joined the ballet world quite late. But it was one of the best periods of my life because I danced every show, every performance, and I met amazing choreographers and dancers in the company.”

_{Photograph: Antonio Crotti}

To find out more about his odyssey to date, the thrills and takes of his practice, and what is next on the horizon, Filippo stopped by GLASS for a chat. Read all the insights below.

On Dance as a Form of Expression

“Throughout my career, I felt closely related to ballet and contemporary dance in equal measure: I feel right in the middle because my personality makes for both of them. Ballet helped me structure and express myself in a specific way, through rules and a precise code. But on the other hand, I feel connected with contemporary dance because it gives me a sense of freedom and it feels cathartic, almost free-flowing. As you can see in most of the photos, my eyes are closed; but as soon as I open them, especially in this kind of composition, it feels like I’ve lost connection with myself. When my eyes are closed, I feel like there’s waves of energy skimming through my body.” 

On The Joys And Thrills Of Dance 

“I think I have different sensations in each piece I dance. If I have to perform a group one, I think the emotions do come in less for me, as I need to focus on the steps. Knowing the intention of the choreographer is crucial, and so is the delivery: if I have freedom, of course, I’ll take it and just go with it. And when that comes through, my heart thumps and rushes.” 

_{Photograph: Antonio Crotti}

_{Photograph: Antonio Crotti}

On Dance’s Hardships And Systemic Complexities 

“It’s a practice that is not so easy to approach and to be part of, as it requires a lot of strength and mental stability. Plus, you have to be confident because if you begin having moments of self-doubt, it gets extremely tough. One must also come to terms that it’s a short career, so you have to use the time you have and maximise it, particularly because injuries can always happen. I would say that the best thing for a dancer is learning how to take care of yourself, because we usually don’t and we tend to stretch to the maximum, training until our breath is basically gone.” 

On Mental Health

“There’s so many bad triggers that spark when you’re dancing; my injury triggered my brain a lot. But then, to be honest, I think I made one of the best decisions of my life because I began seeing a psychologist and we talked about this long term. We worked on it and it was so helpful, which helped me realise that I didn’t have a good approach or the right approach to some things I pursued (not in dance, but in my life, ndr). The environment could be so intense that you don’t realise how you approach your life. This injury started very badly, but then it also helped me grow up, improve myself, and it made me approach difficulties from a different perspective.”

_{Photograph: Antonio Crotti}

On Future Hopes And Expectations 

“In all honesty? Do like a full season without causing further injuries, that’s the goal. Not feeling pain and being satisfied by my work is another one, too. Yet the biggest hope I have and that I’m working towards is to accept everything that comes to my life in a positive way, feeling grateful for what I have, and refrain from complaining about something that is beyond my control. I have a job that’s one of the best gifts I’ve ever had: if I look at my past, I can recall where I started and where I am now. And for that, I have to be proud of myself.” 

by Chidozie Obasi

Photographer: Antonio Crotti @mira_geler 

Stylist: Chidozie Obasi @chido.obasi

H&MUA: Marta Cupaioli @mm_martamua via @mksmilano

Fashion Coordinator: Alberto Michisanti @albe.michi 

Producer: Jessica Lovato @jessicalovato_

Contributing Editor: Luca Rosei @luca_rosey

Copy Editor: Edward Pusca @edwardpusca  

Talents: Filippo Pagani @ooppilif + Michele Forghieri @micheleforghieri_  

Fashion assistants: Loris Vottero @loris_vottero + Cloe Rubinato @cloe_rubinato + Anna Regazzoni @anna.regazzoni + Martina Manenti @girlbyspring + Alessandra Di Mugno @liladmxxy + Angelica Guaman @leidyguaman_ + Allegra Auro @_.alle.graa_ + Giulia Tolotti @giuliaatolotti

_{Clothing Credits:}

_{Look 1: IM MEN}

_{Look 2: Coat CELINE | Trousers DUŠAN}

_{Look 3: RANDOM IDENTITIES by Stefano Pilati}

_{Look 4: Shirt PAUL SMITH | Jumper HOMME PLISSÉ ISSEY MIYAKE | Trousers HERMES}

_{Look 5: Blazer BRUNELLO CUCINELLI | Shirt LOUIS VUITTON | Shorts SILKOLOGIE | Trousers JIL SANDER by Lucie and Luke Meier}

_{Feature Image: LORO PIANA}

The post “When I Close My Eyes, Everything Else Becomes Secondary”: Filippo Pagani On Dance’s Cathartic Power  first appeared on The Glass Magazine.

25 performers from a range of styles and backgrounds formed the cast of Despertares, dressed in a plethora of scenic costumes, light makeup, breezy garb and soulful gestures. All are sensational professionals in the classical repertoire, but the rest have wildly varying abilities, and over the course of this deceptively simple work, they’re encouraged to reveal the very essence of their creative selves – taking it in turns to execute a pirouette, moonwalk, or lift, and executing a solo routine that the others have to copy.

The results were indeed brilliant, funny, and most touching, but entirely distinctive. Standouts included the powerfully moving moments of Kayla Mak’s own solo (in which she performed Schubert’s Ave Maria), Nikisha Fogo’s poised interpretation of Blakeworks, which has an incredibly winsome quality to it, while Chay Jurado’s soft dancing to the sound of his breath and smoke was equally riveting and revealing.

‘Gala’ is not quite the best word to describe the breadth of this work, but still it bears the stamp of a special genius, both in evoking so much of its performers’ dedication and in winning over his audience. When the dancers let rip in a final moment of communal cheer, Mexico City was not only cheering them on, but it wished to jump headfirst on that stage, too.

Below, GLASS caught up with a few of this year’s guest artists to weigh in on the 2025 edition:

_{Alina Cojocaru. Photograph: Nath Martin}

Alina Cojocaru OBE

“I’m thrilled to be performing again with Despertares. This unique and captivating show showcases exceptional quality and the versatility of its artists, making it inspiring for me as a performer and, I believe, for the audience as well.”

_{Gabriele Frola. Photograph: Nath Martin}

Gabriele Frola, San Francisco Ballet

“Despertares is my favorite gala because it beautifully showcases a diverse array of dance styles and talents, from classical to hip-hop, tap dancing, contemporary, and more. Having lived in Mexico for a year, I developed a deep connection with the culture. Dancing here feels like home to me, and it’s my way of expressing gratitude for the warmth and love I received during my time in this incredible country.

Each performance at Despertares reminds me of the joy we can bring to the audience and how important it is for Mexico to have such a wonderful night of celebration. I’m so grateful to Isaac and his team for creating such an incredible show and for inviting me once again.”

_{Tiler Peck and Roman Mejia. Photograph: Nath Martin}

Tiler Peck, New York City Ballet

“I am thrilled to be returning to Despertares for the second year in a row. Last year, I was completely blown away by the enthusiasm and love that Mexico City visibly has for this incredible art form. I cannot wait to experience what I love most (to dance) with a community who appreciates it as much as I do!”

_{Isaac Hernández & Nikisha Fogo. Photograph: Nath Martin}

Nikisha Fogo, San Francisco Ballet

“I can’t wait to perform in Mexico City as part of Despertares! It will be my third time and every performance, alongside such an incredibly talented group of artists, leaves me feeling deeply inspired. Mexico City in particular holds a special significance to me. So much so that I will be getting married here in January (of 2026) at the former home of Leonora Carrington, the legendary British-Mexican surrealist painter and novelist.

I’ve truly fallen in love with this city: the passion, kindness, and generosity of its people; the richness of its culture, the incredible food, and its vibrant art scene. I’m so excited to share my own art with this place I adore, through the magic of Despertares.”

_{Kayla Mak. Photograph: Nath Martin}

Kayla Mak, American Ballet Theatre

“Being in Despertares and having the chance to connect with artists that I have looked up to is such a highlight!”

by Chidozie Obasi

The post Riveting and Impassioned, Despertares’ 2025 Edition Unleashed Dance’s Pulsating Energy first appeared on The Glass Magazine.

In Verona, Carl Orff’s highly revered arrangement of early music poems (known as Carmina Burana) was originally meant to be staged, even though it conveyed the striking mashup of Christian symbolism and medieval mindset.

_{Arena di Verona Opera Festival} 

With a mix of brilliance and decadence, gloom and romance, the work was intended to have the wildest appeal possible. It comes as a surprise, then, that l’Arena di Verona’s poised production had the choir and soloists perform in a spare setting: flanked by a wealth of singers wearing black attire from head to toes. As a celebration of life, the voices did justice to Off’s vision. Yet, despite the lack of fizz in production, the whole affair failed to charm in its entirety.

_{Arena di Verona Opera Festival} 

This was in part due to a poor sound mix, which would have let down a two-piece pop band, let alone L’Arena’s orchestra at full stretch. For all their technique, prowess, and energy, the soloists and choir tried to fill the space: the soprano soared easily through the high Cs, while the countertenor’s falsetto didn’t quite hit the mark, especially in crescendos and within the passages of quavers.

The symphonic moments, on the contrary, were of sublime quality and grace: from the strings to the wind band, there was a winsome charm that epitomised their sections and added a delightful sense of unison and blend to the ensemble.

All in all, in a venue so geared to mass and rapturous spectacle, the live action of the arena seemed somewhat disconnected and yearned for furtherance and interest. Indeed, there was fun, and it might have been the best resistance.

by Chidozie Obasi

The post Arena di Verona Opera Festival 2025: Carmina Burana first appeared on The Glass Magazine.

For Chastain, 2025 has been a triadic triumph. Known for her roles in films such as The Tree of Life (2011), Zero Dark Thirty (2012), Mama (2013), and The Eyes of Tammy Faye (2021), the Californian actress has reached new career heights with Apple TV+’s The Savant, a crime thriller about the underbelly of online extremists, set to premiere later this month, with Chastain both starring and producing. 

_{Fernando (Isaac Hernández) and Jennifer (Jessica Chastain) are on vacation, drinking coffee and having a good time. @Teorema 2025}

As if her undeniable acting prowess weren’t enough, on 4 September she was honoured with the 2,819th star on Hollywood’s Walk of Fame, surrounded by an A-list crowd and her closest family members. Oh, and lest we forget—the 48-year-old also starred in Michel Franco’s latest offering, Dreams (alongside American Ballet Theatre’s principal dancer Isaac Hernandez), a resonant work that feels like a significant step toward fully recognising her talent and ethos as an eclectic storyteller. And I thought I’d been busy.

The title itself is an impassioned, provocative tale of erotic tension and obsession, meditating on race and the legacy of white supremacist ideology built across centuries of exploitation of immigrants in the United States. Its plot traces the complex narratives of migration and exile, but ultimately speaks to how dreams can be destroyed—almost instantly—by supremacist thinking and class power.

In this setting, Jennifer McCarthy (played by Chastain) is a wealthy philanthropist in San Francisco, accustomed to life’s lavish pleasures. Her full-time role is supervising high-profile arts projects, funded by the vast endowment established by her widowed father, Michael (Marshall Bell). 

_{Jennifer (Jessica Chastain) and Fernando (Isaac Hernández) are sharing a romantic moment in their house. @Teorema 2025}

One of Jennifer’s ventures is a dance school in Mexico City, where she meets and falls for Fernando (Hernandez). Before leaving, she gifts him a lump sum of cash, which he uses to cross the border into Texas illegally, eventually traveling to San Francisco to see her. Jennifer responds with reckless excitement to this race-crossed, class-divided romance.

Yet her prickly persona won’t allow her to be seen with him in public, fuelling Fernando’s rage. The panorama of silent racism and disparity permeates the film, triggering a cascade of consequences—deceit, exclusion, and the brutal weight of power dynamics.

With a profusion of achievements—teamed with the woozy elation and towering pressure they bring—Chastain hardly needs an introduction. She’s well-practiced in the art of being profiled (which, to me, feels like an extension of her own self-expression). “Do not get in a relationship like this!” she told GLASS at the Mexican premiere of Dreams in August.

“[My character] believes she’s progressive, because she uses her money to support causes she believes in. But the way I see her, she sometimes supports causes that benefit her more than others. And she becomes entangled with a ballet dancer who works for a company she finances. Overall, they have a very difficult relationship.” There is love, she admits, “but it’s completely unhealthy and should end.”

_{Jennifer (Jessica Chastain) is seated at the theatre watching a show. @Teorema 2025}

_{Jennifer (Jessica Chastain) is outside the ballet at night, speaking with someone on the phone. @Teorema 2025}

“It’s interesting,” she reflects, “because we shot the final sequences at the very end of the production. And as soon as they called: ‘Picture wrap on Jessica,’ I burst into tears. That’s not normal—when we wrapped Franco’s Memory (2023), I was just relieved. But here, I started sobbing. I think it’s because so much heaviness was filmed at the end, and I didn’t process it until it was over. It makes the work tough sometimes, but for me, telling stories is also a healing process.”

On playing Jennifer, she’s candid. “I don’t know if I’ve ever played anyone quite like her. She’s a piece of work, and I feel sad for her because I think she’s incredibly lonely. Her father and brother treat her like a child—an object, a doll, a pet they care for. She’s beautiful, she serves a purpose, but she can’t live her own life. She equates their control with love, and then she repeats the same dynamic with Fernando.”

Chastain’s Jennifer doesn’t understand how to love without trying to possess or control. Yet working opposite a ballet dancer was, for Chastain herself, an invigorating experience she cherished. “When Michel first told me I’d be making this film with a ballet dancer, I said: ‘Okay, I trust you.’ But when the three of us met, I wasn’t sure. Isaac was so shy, and I worried—it was going to be intense, difficult material, and he couldn’t be timid. I’m tough, so he had to be tougher. Otherwise, I’d crush him,” she recalls, her face lit with excitement but without a hint of bravado. “But then, in our first scene, I realised—because of his dancing—he was strong. Performing gave him an inbuilt confidence. Later, I told Michel, forget my doubts—Isaac’s perfect.”

_{Jennifer (Jessica Chastain) is at the Ballet Company in Mexico. @Teorema 2025}

As our conversation winds down, I can’t help but think she’s right: art, and the sensibilities that storytelling can harmonise, can truly be a beacon for change. It’s a conviction she echoed in her Walk of Fame speech earlier this month, urging young actors to keep chasing their dreams—a belief she held since childhood, raised by a single parent and scarred by family loss.

She also called on her peers to support those who haven’t had the same opportunities. Her mindset is notable: it reflects the uncompromising mentality that her generation of actors is becoming known for. And it feels like exactly what the world needs right now. More than ever.

by Chidozie Obasi

The post Jessica Chastain on Romance, Toxicity and the “Healing Power of Storytelling” first appeared on The Glass Magazine.

The new capsule collection looks to Abdul-Jabbar’s legacy, incorporating sport, culture, and style in Wales Bonner’s signature thoughtful way. A recurring detail throughout is a nod to Kareem’s “sky hook,” which appears as a subtle logo motif.

_{adidas Originals x Wales Bonner}

_{adidas Originals x Wales Bonner}

Then there’s the track top that comes embroidered with a dragon, in homage to Abdul-Jabbar’s martial arts-inspired acting career, and pairs with the track pants. The lineup also includes a basketball-ready tank and shorts, plus socks in the colours of his two pro teams.

On the footwear side, Wales Bonner revives the adidas Jabbar silhouette. The WB Jabbar Lo updates the ’70s design with suede uppers, mismatched stripe hues, and a gold-foil sky hook stamped on the tongue, which’s part contemporary, part retro.

_{adidas Originals x Wales Bonner}

In the campaign, which was shot by Oliver Hadlee Pearch, we see classic portraiture and jazz influences with model Jecardi Sykes channeling Abdul-Jabbar’s spirit in imagery that merges archival clips, quotes, and music to highlight the player’s cultural presence.

by Felicity Carter

The adidas Originals by Wales Bonner Jabbar collection is now available via adidas.com, the Confirmed app, and select retailers.

The post adidas Originals x Wales Bonner Pay Tribute to Kareem Abdul-Jabbar first appeared on The Glass Magazine.

Founded in 1980, Hublot is a renowned Swiss luxury watchmaker recognised for its bold designs, innovative spirit, and unparalleled craftsmanship. Built on a philosophy of innovation and passion, the brand has mastered ‘the art of fusion’, blending materials, styles, and ideas in a way that pushes the boundaries of traditional watchmaking.

_{Patrick Mahomes for Hublot}

Long associated with excellence, Hublot has partnered with some of the most celebrated athletes in the world, including Usain Bolt, Novak Djokovic, and Kylian Mbappé. The addition of Mahomes, one of the NFL’s most electrifying talents, continues the brand’s commitment to aligning with champions at the top of their game.

Mahomes is known not only for his exceptional athleticism and leadership under pressure, but also for his dynamic and unpredictable playing style. He has shattered records and led his team to historic victories. These traits perfectly mirror Hublot’s philosophy of precision, boldness, and performance.

_{Patrick Mahomes for Hublot}

The announcement comes as Hublot celebrates the 20th anniversary of its “Big Bang” mindset. This is a design and innovation mindset that challenges conventions and embraces a bold, contemporary aesthetic. The “Big Bang” philosophy represents more than a watch collection. It’s a way of thinking: versatile, fearless, and constantly evolving.

With Mahomes now part of the Hublot family, the brand strengthens its presence in North America and reaffirms its status as a leader in both luxury and performance-driven partnerships.

by Ellis Dowle

The post Patrick Mahomes Joins Hublot As Its New Brand Ambassador first appeared on The Glass Magazine.

British actor James Nelson-Joyce speaks to Glass Man about wanting to break out of playing the hard man and why his native Liverpool remains his guiding star

It’s one of those bitterly cold February mornings in Liverpool and James Nelson-Joyce is trying to get his family dog to go in the garden. “He’s not feelin’ it,” he realises when the sharp breeze hits both of them. “How bad is this weather.” I agree from the other end of the phone line in London, though I suspect it’s far worse for him up north. He laughs – of course, it is.

For those familiar with Nelson-Joyce’s screen presence, his reputation precedes him. His filmography reads like a roll call of television’s most hardened characters: a bullying convict in the BBC’s Time, a ruthless gangster in Sky Max’s A Town Called Malice, and a con man in The Gold. So when the first couple of minutes of our conversation include a typical British digression into the weather, you realise that the 35-year-old couldn’t be further removed from his menacing roles. 

“A lot of people think when they meet me, that I’m gonna be this nasty person,” he answers. “I’m so far removed from that, it really isn’t me.” That sentiment is reinforced by his unwavering connection to home. Unlike many in his industry, Nelson-Joyce has resisted the gravitational pull of London, New York or Los Angeles, preferring to remain where his roots run deep. “I’m the least actor-y actor that you’ve ever met,” he says truthfully. “I like coming home. I love home.” 

_{Photographer: Joe Hart}

Born north of Anfield in Walton, Liverpool, Nelson-Joyce grew up in a working class household. His mother worked in a factory; his father cleaned gutters for the council. “People haven’t got a lot, but what they have, they take pride in it,” he says. He went to school at Archbishop Beck Catholic College where the idea of acting was entirely foreign. “I didn’t know a single person who wanted to be an actor – including myself.”

Like many, his dream was to become a footballer. It was the only subject he excelled in at school, finding himself in the bottom set for the rest. Unbeknownst to him, he was dyslexic – something he would only be diagnosed with in his early twenties. As expected homework was a struggle, so he avoided it all together. “I was a bit of a nightmare to teach,” he admits. By 16, his school wouldn’t have him back. 

Prior to being dismissed, his English teacher, Miss Griffiths, picked him to do a monologue for the speaking and listening exam. “She was the teacher in school everyone fancied. I would put on mad accents in class to get her attention,” he recalls. Seeing an opportunity to spend more time with her, he agreed to do it. The piece he had to learn was about a teenage boy who deals with the emotional loss of his pet. His examiner burst into tears after he finished performing.

“Me being a cheeky little Scouser, I’m like ‘hey love, come here and give me a hug’. Little did I know she had lost her dog, so connected to it.” Nelson-Joyce ended up receiving the highest mark ever awarded in the northwest. “It shows how lucky I am. I get given this piece because I’m a bit naughty in class and a teacher sees something in me.”

_{Photographer: Joe Hart}

With no clear path ahead, Miss Griffiths suggested he consider drama and took him to a community college in the city centre that focused on the arts. “That’s how I got into acting,” he pinpoints. But it was after watching This Is England, The Street and The Damned United, that Nelson-Joyce felt confident enough to realise that acting was a possibility.

“All these films had Stephen Graham in them,” he says. “I was like ‘oh he’s a Scouser. I’m a Scouser’. You don’t see many Scouse accents on the telly.” His performances varied from playing a racist to a drunk, showing Nelson-Joyce the many facets of what a career could look like, all joined together by a singular thread – raw emotion. “There was stuff going on in my personal life at the time and I was able to connect to that vulnerability,” he reveals. “I have emotional intelligence. I would say I’m not the smartest of people, I’m genuinely not, but I do have emotional intelligence.” 

The transition to drama school was marked by an undeniable sense of disparity. Sat in waiting rooms for auditions and asked by tutors what books he had read or plays he had seen, there was a disconnect. “I remember thinking there’s a whole different culture divide here,” he says. “Like, you don’t do that where we’re from. We go out on the street and listen to 50 Cent in the youth club.” Nonetheless, the Liverpudlian prevailed and was accepted into London’s Italia Conti Academy of Theatre Arts. 

During his third year, Nelson-Joyce was eating dinner in Nando’s when Stephen Graham and his wife, the actress Hannah Walters, walked in. As a long-time admirer, he approached Graham, explaining he was in the process of getting into acting. “I just didn’t want to be that kid, when all I had done was Casualty, Mount Pleasant and Vera, to say ‘please watch me’.”  

_{Photographer: Joe Hart}

As luck would have it, he didn’t need to. Eighteen months later, the pair ended up at the same table read. “He looked across the table and just smiled. That was the pat on the back I needed.” Immediately recognising the youngster from their brief interaction, they both shared titular roles in ITV’s Liverpool-based drama, Little Boy Blue, which portrays the murder of 11-year-old Rhys Jones in 2007. 

When the script first landed in his inbox, he felt a sharp affinity with the story as he lived only a five minute drive away from the incident. “I remember it happening,” he declares. Sporting long hair and a beard at the time, he was desperate for the part, even calling his agent to ask whether he should get a skinhead to secure the role. She advised against it, warning him to manage his expectations. But having seen images of James Yates – the perpetrator who supplied the gun that killed the boy – plastered across newspapers and tabloids, he wanted to mirror his gaunt look. Every morning he would go on runs in bin bags and cut down on water to quickly drop weight. 

The combination of commitment and experienced knowledge of the incident meant he got the role. Immediately immersing himself in the mindset of this youngster, he spoke to neighbours, watched all the documentaries and listened to the violence-inspired music of that year. “Look, I’m from Walton. I know kids of that same ilk, do you know what I mean? They never killed an innocent kid, but they were fearless, the kids in my area were fearless.”  

_{Photographer: Joe Hart}

The unfiltered dedication to his portrayal seeped through the screen and highlighted his name to the masses. What transpired was a contagious career-turning point of successive projects, where he built up an impressive catalogue of credits – many of which called on him to take on the uglier parts. None were worse than his role last year as Skate, an abusive boyfriend in Andrea Arnold’s award-winning drama, Bird. Showcasing a raw and palpable performance that caused audiences to stir in their seats, Nelson-Joyce began to etch his name onto people’s minds. 

This February saw the actor take on a slightly less sinister role in Disney+’s series A Thousand Blows that brings to light the Forty Elephants, the infamous all-woman crime syndicate in East London during the 19th century. Starring as Treacle Goodson, the brother to Graham’s character Sugar, the pair reunite as bare-knuckle boxers to highlight the underbelly of the fighting scene against the mischief of the female thieves. 

Their relationship has long surpassed being mere colleagues. What was once admiration from behind the screen has evolved into a firm friendship – so much so that Graham, who also serves as executive producer, personally called Nelson-Joyce to encourage him to audition. After the usual self-tapes, director Steven Knight requested a chemistry read between them.

“You’re never gonna believe this,” he begins, amused. “I walk into the room. And this was not planned. Me and Stephen were wearing the exact same clothes. The exact same colours. The same trainers but in a different colour. Everyone in the room burst into laughter. They thought we had planned it. I swear to God, we didn’t. We did not plan this.” The anecdote speaks for itself – of course playing siblings would come naturally. 

_{Photographer: Joe Hart}

After mastering a Cockney accent, he had to get into fighting shape. As a diligent actor, he immediately took to researching the era. “The malnutrition of the East End at that time was a big thing, like meat stealing. And I knew my character was fit and had a little bit of money but it meant he wasn’t built.” Turning up to training, where a coach taught them the stiff Victorian boxing stance, Nelson-Joyce met up with Graham, Malachi Kirby, and Francis Lovehall – each arriving with shredded physiques. “Those three looked amazing. I thought, maybe I need a bit more chicken in my diet,” he laughs.

Although his historical research was meticulous, it’s the four Smith brothers – one of professional boxing’s most famous families – at the Rotunda gym back in Liverpool that helped in his character preparation. “I channelled the brothers, because they’re all so close and intertwined,” he says. “They all love each other so much. I used bits of each of them.” The notion of being a hometown boy isn’t lost on him. Having spent the last year and a half adjusting his accent for roles, he returns to familiar soil in BBC’s The City is Ours, which sees him speak more freely. 

“I slowed it down a bit and made my voice a bit deeper so it’s a bit more manly, but all in all I didn’t have to worry about my vowel sounds or accent in general,” he explains in a relieved tone. Set around a family-run drug ring led by Ronnie Phelan (Sean Bean) between Liverpool and Spain, it follows Nelson-Joyce’s character, Michael Kavanagh, in the process of taking over the operation from Ronnie. 

_{Photographer: Joe Hart}

“Drugs in most cities are a problem,” he reflects. “I think what we are trying to show is a man for whom this is all he knows. He’s come to a crossroads where he conflicted about what to choose. I like to tell the truth because in today’s society it’s quick money but it comes with risk and ruins people’s lives. You don’t get something for nothing. And there’s very few people who walk away from that world.” 

Beyond the classic displays of bravado, the show explores another side of Michael – the struggle between him and his girlfriend to conceive a child due to his low sperm count. “He’s seen as the man but he’s troubled with the fact he can’t get his Missus pregnant. It’s his fault,” he explains earnestly. “It’s like he’s had masculinity taken from him a little bit. And then there’s a trauma of learning about IVF, learning what women have to go through – it suddenly makes the relationship feel unsteady.” 

Despite the crime-ridden plot, it’s got this very real side embedded in the script that many will be able to relate to, bringing an unexpected tenderness to the show. “It was a beautiful piece to work on and I hope it comes across how much these two people want to be together and raise a family but unfortunately they can’t do it naturally.” As the episodes evolve, we’re shown a more gentle and emotional side to the actor, one closer to reality. 

_{Photographer: Joe Hart}

“Do I enjoy playing complex characters? Yeah, I love it. Would I love the opportunity to play something different? Of course.” With a desire to transcend the grit, he mentions his wish to portray George Best, the famed Northern Irish footballer who suffered from alcoholism throughout his adult years. “He had problems with women, drinking and drugs. That was his medicine through knowing he had wasted his talent,” he says. “I don’t think he ever got quite over that. And there is something that I would love to portray.”  

But perhaps it’s the depth of understanding of these internal entanglements that makes Nelson-Joyce so compelling to watch. Maybe it’s less about not playing the bad guy, but rather about offering a space to reveal the humanity within them, because, just like him, I reckon they’d probably complain about the winter breeze in Liverpool too. 

by Imogen Clark

This City Is Ours is on BBC1 and iPlayer from 23rd March and all episodes of A Thousand Blows are available now on Disney+ and Hulu.

Photographer: Joe Hart

Senior Fashion Editor: Lily Rimmer

Grooming: Richard Wynne-Ellis

Set designer: Elena Horn

Photography assistant: Jonathan Tomlinson

Styling assistant: Maki So

Production: Daisy at Twenty Twenty Agency

Talent: James Nelson-Joyce

_{Look 1: Billinge SPZL hoodie ADIDAS SPZL, Shirt SAMSØE SAMSØE}

_{Look 2: Hudswell SPZL jacket and A. Aspden SPZL trainers ADIDAS SPZL, Jeans and shirt SAMSØE SAMSØE, Tie LATE CHECKOUT}

_{Look 3: Brockhall SPZL tee, Mod SPZL socks and Handball Cup SPZL trainers ADIDAS SPZL, Coat TIGER OF SWEDEN, Trousers NN07, Necklace and bracelet TILLY SVEAAS}

_{Look 4: Brockhall SPZL tee ADIDAS SPZL, Shirt FILIPPA K, Trousers LOEWE, All jewellery TILLY SVEAAS}

_{Look 5: Wardour SPZL vest and Roelee SPZL trainers ADIDAS SPZL, White shirt HERMÈS, Trousers JAMES’ OWN, Bomber TOD’S, Tie KENT & CURWEN}

_{Look 6: Hudswell SPZL jacket, Salesbury SPZL pant, Mod SPZL socks and Pampanga SPZL trainers ADIDAS SPZL, Boxers KENT & CURWEN, Top WALES BONNER}

_{Look 7: Halewood SPZL parka (two worn) and TRX Mesh SPZL trainers ADIDAS SPZL, Under jacket BARACUTA, Jeans NN07, Necklace TILLY SVEAAS}

The post James Nelson-Joyce On Breaking The Villain Mould first appeared on The Glass Magazine.

Glass speaks to British actor Rosy McEwen on the magic of acting, the film that inspired her and her upcoming role in forensic crime drama Scarpetta

Rising British actress Rosy McEwen has captivated audiences across theatre, film and television — notably in 2022 when she starred as Desdemona in Othello at the National Theatre. The role saw her named one of Screen International’s Stars of Tomorrow and that same year she gained critical acclaim for playing the lead in British drama, Blue Jean.

A project close to her heart, it follows a teacher navigating Thatcher-era homophobia, exploring themes of identity and self-acceptance. Both the drama and McEwen’s performance were praised and she ending up scooping Best Lead Performance award at the British Independent Film Awards.

Building an impressive filmography, we’ve also seen her in Harvest, a BBC Films feature that premiered at the 2024 Venice Film Festival, and she appeared alongside Julia Garner in Apartment 7A, a prequel to Rosemary’s Baby. As for this year, she’s kicked it off  in style, attending the Sundance Film Festival for Rabbit Trap, a psychological thriller she appears in with Dev Patel. 

_{Photographer: Nick Thompson}

We can expect to see more of McEwen with upcoming roles in Scarpetta, a TV series from Amazon Prime based on fictional forensic pathologist Kay Scarpetta – she plays the young Scarpetta alongside Nicole Kidman’s older version – as well as Black Mirror, the mega-hit dystopian anthology, and the movie Mission, directed by Paul Wright.

For McEwen, it’s all about crafting the characters, adding layers of emotions and nuances to bring them to life — perhaps nodding to her love of the 2003 film Monster, featuring Charlize Theron as serial killer Aileen Wuornos, that kickstarted her love for acting. That same commitment to powerful narratives, particularly the stories of strong women, continues to inspire her work. Constantly evolving, she remains one of the most exciting talents to watch, appreciated for her layered performances.

_{Photographer: Nick Thompson}

Growing up, can you remember any performances that shaped you? 

Monster with Charlize Theron. It blew my mind. To see a woman playing a role so undefined by her aesthetic was glorious! I saw so much freedom suddenly, so much possibility in the roles that were out there. More than that, I revelled in seeing a female character so unhinged, wild and unpredictable. I still feel attracted to that now – roles that are far away from who I am and far away from what’s expected of women, breaking free from the invisible shackles of patriarchal societal expectations.

What initially drew you to acting and how did your journey begin?

I always loved drama at school and I was in play after play. But honestly, I never really thought that I could do it as a profession. I didn’t know any actors – I thought they were these magical humans all existing on another planet. I felt that I was someone who had to get a degree and do the 9 to 5 thing.

In my final year of university, I was a bit lost, so I googled ‘University Drama Clubs’ and up came an audition for a play that day at 5pm, and I just rocked up. I met wonderful people, remembered how fun and ridiculous the whole acting thing was, and thought ‘this is going to be unpredictable and scary but I have to at least give it a go or I’ll never know’. I applied for drama school, with my new cast mates leading the way, and the rest is history.

_{Photographer: Nick Thompson}

How did you get into Bristol Old Vic Theatre School?

It was the only one I got into — and I only just managed it. Shout out to whoever gave up their place that year and [so I was] upgraded me from the reserve list. Getting into drama school is unfairly tough – there were only 14 places on our course and only half of those for women. There were only four schools I wanted to go to, so the odds were stacked against me, but I secretly loved Bristol the most. I liked being out of London and at Bristol they celebrate everyone’s individuality, which I think is important.

The main benefit I got was that those few years offer you a chance to ask all the silly questions and get stuff wrong … really wrong! I could be terrible and fall on my face. I started to learn how I like to work, so that when I was finally on camera or on stage, my understanding of myself as an actor was a bit more streamlined. This ultimately leads to walking into a rehearsal room and feeling that tiny bit more confident. 

You’ve worked on the stage, as well as on TV and film. Are you drawn to a particular medium?

Both. Equally. They are too different to compare. The acting is the same but the skill set is different. Stage is where I grow and learn instantly. Because you’re getting live feedback from an audience, you know the moment a line has come out of your mouth if it has landed or not; you just feel it. Whereas you won’t really know what’s working on screen until you see the finished product and that might not be until a year later.

Theatre also offers you the practice of presence; keeping something fresh and alive. Film, however, can be much more satisfying. You only get one chance to get a scene locked in; the build up to that moment, the focus needed and then the relief when it’s in the can and it’s gone well, there’s nothing like it. I hope I’m lucky enough to be able to do both throughout my career. 

_{Photographer: Nick Thompson}

How do you approach character development when taking on a new role?

It changes every time. I feel like I’m starting from scratch when I’m faced with a new role. But I’m learning that I just need to sit with it  and that each character needs something different. I remember when I was prepping for Blue Jean, I would write her name out in a blue notebook for pages and pages, as perfectly as possible.

I have no idea why. I think it was to do with the control she was desperately trying to hold onto. For Daphne in Rabbit Trap, an addict and a musician, I drank wine and smoked cigarettes and ran my lines with loud electronic music playing because I felt like she needed that. It all sounds a little nuts now but I have to find a way to access and reach my instincts. I do love the prep so I try to do as much as I can. It’s where I discover all the detail and grounding and layers. And then the moment I get on set I just try to listen and then say the words, trusting all the groundwork is there.

Have your preferences changed as time has gone on?

Yes and no. I think I’m changing all the time in life, so I guess I crave different things at different points. I have been on set for a while now so I’m craving the stage and the freedom of a play, but you also never really know what is going to cross your path. I’m trying not to be too precious but equally have the confidence to say “no” if I don’t feel connected to the role. Ultimately, I owe total dedication to the production too.

_{Photographer: Nick Thompson}

Which projects, people, and roles have shaped you as an actor?

Every project keeps shaping me. Some characters really get under your skin and they stay with you a little longer than expected. This sounds a little cringeworthy, but it can feel like a privilege to get to know these characters so deeply, to get to tell these women’s stories and endeavour to find total authenticity for them. It sort of makes me feel less like an alien in the world.

I see things in these women, I resonate with or Iearn things about them that makes me understand humans a little better. I always leave a job hoping I’ve done the best I can do for the character, like I owe her total truth so that people will watch with clarity. Maybe it is about giving a voice to women, to be understood and heard. 

_{Photographer: Nick Thompson}

How do you choose the projects you want to be a part of?

If my heart beats a little faster when I read her lines for the first time, that is usually it. 

Your performance in Blue Jean gained you a BIFA. Could you tell us about the experience?

It was a very special project. It felt like all the stars aligned. I loved everyone who worked on Blue Jean and it felt like all of our visions, brought together and led by Georgia [Oakley, writer], for what the film should be were aligned. It was my first lead role and one of the main things I took away was that I could do it! I think that film might have changed my life in more ways than one. It will always mean a lot to me. 

_{Photographer: Nick Thompson}

You’ll be starring in Black Mirror. What was your reaction when you first heard that you’d be part of the franchise?

I’ve always loved Black Mirror so being part of something you were a fan of before all the acting malarky started always feels quite surreal. Plus, Charlie [Brooker, series creator] really allows his actors to play – the parts he writes are pushing boundaries both story-wise and emotionally and that’s fun. It also goes without saying that his writing is just so good and good writing is half the hard work done. The Rory Kinnear one from Series 1 [The National Anthem, 2011] still haunts me! It is groundbreaking. What programme has been able to get to Series 7 and is still so watched and loved? It is very rare. 

You’ve just released Rabbit Trap which went to Sundance, how was that? 

I enjoyed Sundance, it is nice and chilled. You can wrap up warm and not totter around in heels. I think festivals are always quite special. To come back together with the people who made the film and get to celebrate as a group before it goes out into the world  feels like the perfect way to wrap up an experience. I find all the press stuff quite stressful, so I admire those actors who seem so chilled and laissez-faire. I hope with time, it’ll just become easier.

_{Photographer: Nick Thompson} 

You’ve also you’ve got the upcoming tv series, Scarpetta. There are some huge names in the cast – how do you hype yourself up?

God, who knows? You can’t really prepare yourself for anything in a way. You have just got to step onto the stage or set and hope for the best and feel confident knowing you’ve done the work. Being prepared will always help. I think I just try to roll with whatever I’m feeling. Luckily, I’m doing a job where emotions are useful, so I’ll just try to take any fear or nerves and mould it into something useful for the scene. No rituals  – I’m not superstitious or anything. I think I’d go mad if I started to be. I think being present is the most helpful thing, so if I’m a bit lost in my mind I’ll come back to my ears and just listen. 

by Felicity Carter        

Black Mirror S7 is available to stream on Netflix from 10 April 2025

Photographer: Nick Thompson  

Stylist: Phoebe Lettice-Thompson

Hair: Mark Francome-Painter

Make up: Gina Kane using FARA HOMIDI BEAUTY

Manicurist: Charly Avenell using DIOR Manicure Collection, Le Baume and DIOR Vernis

Styling Assistant: Leonor Carvalho

Talent: Rosy McEwen

_{All clothing LOUIS VUITTON Spring/Summer 2025 Collection}

The post Rosy McEwen On The Women That Have Shaped Her Performances first appeared on The Glass Magazine.

Since 2024, Hilfiger has been the official lifestyle apparel partner of the U.S. SailGP Team. This bold move has aligned the brand with one of the most electrifying sports on the planet. The team sees 12 catamarans racing at speeds up to 100 km/h in iconic locations like New York, Sydney and Saint-Tropez.

_{Tommy X US SailGP}

The capsule taps into Hilfiger’s deep sailing heritage. It reworks nautical staples with a modern edge. Signature red, white, and blue colour-blocking runs throughout, tying the collection together with bold, recognisable style. A standout piece is the heavy-duty flag jacket. It features a three-layer fabric construction and a water-resistant finish, built to handle tough any-weather conditions.

The performance polo is another highlight, made with sweat-wicking material and UV protection for all-day comfort. For more casual moments, graphic tees, heavyweight knit hoodies, and a color-blocked crewneck bring style and ease. Each piece blends functionality with street-ready appeal. It’s sailing gear, redefined for the everyday.

_{Tommy X US SailGP}

Continually, the lineup includes water-resistant bucket hats, performance caps with adjustable closures, and durable sailing gloves engineered for grip and agility. Nautical-inspired backpacks and crossbody bags in the brand’s signature colour palette offer practical storage with sleek design.

Technical socks and reversible belts round out the collection with subtle yet impactful details. Each accessory is built to withstand the elements while seamlessly transitioning from race day to everyday wear, embodying the collection’s core ethos: born on the water, built for the city.

_{Tommy X US SailGP}

Whether you’re watching the races, hitting the city, or just love the vibe of performance-meets-style, this drop brings something fresh to the table. It’s a smart blend of classic Hilfiger with a high-speed twist and is built to handle the elements. This collab proves that sailing style can go way beyond the water.

by Ellis Dowle

The post Tommy Hilfiger Merges Sailing And Fashion For USA Sail Team first appeared on The Glass Magazine.

Glass Man talks to Dutch actor Josha Stradowski about morphing from farm boy to hero in The Wheel of Time, the hit fantasy drama that has just entered its third series

There’s a quiet intensity to Josha Stradowski. It lingers in the deliberateness of his speaking, a measured potency between his words, much like the characters he has embodied on screen.

Best known for his commanding presence as Rand al’Thor in Amazon’s fantasy series The Wheel of Time, Netherlands-born Stradowski has swiftly become one of today’s most intriguing up-and-coming actors – seamlessly blending physicality with emotional depth in a way that feels both timeless and modern.

_{Photographer: Alex Kurunis}

Hailing from Rotterdam and trained at the Theatre School in Amsterdam, the 30-year-old’s trajectory has been as precise as it has been varied. From Dutch television to cinematic box-office hits and the sweeping landscapes of make-believe, he has moved swiftly between genres, bringing a soft magnetism to each role. 

_{Photographer: Alex Kurunis}

Over the last few years, he has stepped into the shoes of a character burdened with destiny, and in the just launched Season 3 of The Wheel of Time, audiences will see how he fares against his most harrowing trials yet.

Based on the book series by Robert Jordan and Brandon Sanderson, the plot is set in a world where magic exists but can only be wielded by certain women, among them Moiraine Damodred, played by English actress Rosamund Pike. Stradowski’s humble farm boy role is transformed when he discovers that he is the Dragon Reborn and destined to either save or destroy the world. 

Yet, beyond the surface of heroes and warriors, there is a sharp intellect and a deep curiosity about the craft of storytelling that reveals hints of a true thespian. 

_{Photographer: Alex Kurunis}

What first drew you to acting and when did you realise it was something you wanted to pursue professionally?

Nothing drew me to acting at first. I didn’t know it existed. My mum just threw me inside a drama class when I was nine. A week later she threw me into an audition room for a musical and when I found myself on stage doing a monologue for 2,000 people I knew “this is it”. Since then I always said this is what I wanted to do. Twenty years later that’s still true. I guess my mum, she saw. She knew. 

_{Photographer: Alex Kurunis}

Before The Wheel of Time, you played in European films and TV. What was it like moving from Dutch productions to a major international fantasy series?

The obvious things like the language and the scale of it. But for me the main difference was seriousness. Without taking ourselves too seriously, there was a seriousness about the work that I loved and made me feel I belonged. 

_{Photographer: Alex Kurunis}

How did you prepare for the emotional weight of Rand’s journey, especially his increasing isolation and struggles with power?

Rand is ready and eager. He embraces his power and destiny. But he’s like a child because he has no clue what he’s capable of. He’s an atomic bomb. It makes him reckless and he pays the ultimate price for that. And in terms of loneliness … That’s his path now. Lonelier and lonelier … Until the break of dawn – it’s dark and I love that. 

Rand and Moiraine’s dynamic is critical to the story. What was it like working with Rosamund Pike?

The best rallies I’ve had with her. She works so incredibly hard … It’s insane. I respect her. I’ve learned it’s not always about giving it your all, but just about enough. It’s that 70-80 per cent range sweet spot.

_{Photographer: Alex Kurunis}

Season 3 marks another evolution of your character’s journey. What did you enjoy most about playing Rand this season?

This season I enjoyed not playing Rand the most! In Episode 4, I play seven different characters with prosthetics and everything that comes with that. Rand’s ancestors. It’s TV, so once we start shooting there’s zero time for anything in prep. In prep, I said to myself “I’m open and flexible. Every problem is a new creative path.” So later when I found myself on set almost fainting in the desert of South Africa at 49C in a seven-hour prosthetic, with five people constantly doing touch-ups on me, I said “this guy is limping ‘cos he tore his ankle and, just like me, he’s almost fainting and dying in action.” Ha ha.

_{Photographer: Alex Kurunis}

The Wheel of Time book series has a massive, passionate fan base. Did you feel pressure taking on such a popular project?

Yeah, I felt pressure. But not this season. With time, I got rid of it. And that’s a good thing. Pressure kills creativity.

_{Photographer: Alex Kurunis}

What has playing Rand taught you about yourself, both as an actor and as a person?

I learned that I’m enough. I’m free and saved. No matter what I do, where I go or who I’m with. It might sound weird, but it makes me feel relaxed. I can now just ease into me.

_{Photographer: Alex Kurunis}

In 2023, you played Nicholas Capa in Gran Turismo, a character inspired by an amalgamation of real-life racing drivers. How did you approach bringing him to life?

Gran Turismo came alive for me stepping into a car and driving up to 300km an hour on a racing track  and then stepping out of the car and talking to the real Jann Mardenborough [in the film, one of Capa’s rivals]. I thought my character was one-dimensional when I realised that might be true in a way. Only winning matters.

_{Photographer: Alex Kurunis}

Looking ahead, what sort of stories are you most passionate about telling?

After my love for theatre came the love for cinema. That’s the world I wanna be in now, filmmaking. The stories that resonate with me are raw, often dark and infectious because they are so true. There are no words for this really. It’s like a fire. Anything that embodies that fire, that’s where you’ll find me. That’s where I’ll be. 

by Imogen Clark 

Photographer: Alex Kurunis

Senior Fashion Editor: Lily Rimmer

Grooming: Charlie Cullen

Photography assistant: Rami Hassen

Styling assistant: Lily Hopkins

Production: Daisy at Twenty Twenty Agency

Talent: Josha Stradowski

_{Look 1: Top belt ALLSAINTS, Middle belt TORY LEATHER at COUVERTURE & THE GARBSTORE, Bottom belt STYLIST’S OWN, Vest NANUSHKA, Trousers DANIEL SIMMONS} 

_{Look 2: White polo CANALI, Middle polo DIOR at NORDIC POETRY, Top polo BATONER at COUVERTURE & THE GARBSTORE, Coat and jeans AMI PARIS, Ring BUNNEY, Shoes GRENSON}

_{Look 3: Polo BIANCA SAUNDERS, Vest GEORDIE CAMPBELL, Jeans TDR at COUVERTURE & THE GARBSTORE, Necklace SERGE DENIMES}

_{Look 4: Top NANUSHKA}

_{Look 5: All clothing CRAIG GREEN, Shoes GRENSON X CRAIG GREEN, Socks PANTHERELLA}

_{Look 6: Top jacket NORDIC POETRY, Under jacket and trousers FENG CHEN WANG}

_{Look 7: Top jacket NORDIC POETRY, Under jacket FENG CHEN WANG, Polo FILIPPA K}

_{Look 8: Jacket and trousers TDR at COUVERTURE & THE GARBSTORE, Shirt FENG CHEN WANG, Hat STYLIST’S OWN, Belt ALLSAINTS}

_{Look 9: Trousers and jumper STONE ISLAND, Undershirt LOUIS VUITTON at NORDIC POETRY, Belts ALLSAINTS, Necklace SERGE DENIMES, Ring BUNNEY} 

_{Look 10: Top NANUSHKA, Coat BIANCA SAUNDERS, Trousers FILIPPA K, Belts STYLIST’S OWN, Shoes GRENSON}

The post Josha Stradowski Is Morphing On Screen With Quiet Force first appeared on The Glass Magazine.

VENICE, ITALY — It’s a difficult time to tell stories about the arts. Dance, drama, and theatre remain powerful tools in this ongoing struggle, and as the world continues to grapple with structural crises and politically driven downturns, acknowledging the precarious state of the creative industries—particularly the scarcity of funding and institutional support—has finally become a socially acceptable conversation. That feels like progress. But calling it a true accomplishment, as many legislative bodies tend to do, seems like a stretch.

If that sounds ungrateful, good. Because it’s taken countless sacrifices for creatives to make it this far in an industry—culture, and entertainment that glorifies progress and meritocracy, often at the expense of individual dreams. This is one of many conversations I’ve had over the past year, and their outcomes are laid bare for all to see.

Still, I don’t want to sound overly pessimistic. Institutions like La Biennale di Venezia’s International Festival of Contemporary Dance offer days filled with experimental performances, bringing together creative minds from around the world—a sign of positive change coming to the surface.

_{Biennale College – Tamara Fernando and Matthew Totaro. Photograph: Andrea Avezzù}

_{Biennale College – Tamara Fernando and Matthew Totaro. Photograph: Andrea Avezzù}

The 19th edition of the festival, which ran from 17 July to 2 August 2025, featured a blend of soloists, world-renowned companies, and Biennale College workshops, all of whom contributed to this year’s program. Titled ‘Myth Makers’, the theme leaned into the abstract narratives of mythology and the sensibilities that come with it—from climate change to digital transformation. The body and its gestures transcended the act of dance, pushing storytelling into deeper realms of meaning.

“Through their puzzling creative pursuit, artists have always been the myth makers of their time, and it is through their legacy that we delve into the depths of their inner selves, articulating universal truths that resonate across time and cultures,” said Wayne McGregor, Artistic Director of the Dance Biennale. McGregor, who assumed the role in 2021, has been reappointed for another two years.

“Artists are also the creators of the myths of our time. Through their creativity, they craft ancient, hypothetical, and contemporary narratives—marking, shaping, writing, and acting to enchant, captivate, and endure.” He went on to highlight the urgent need for myths that speak to today’s human experience, especially in an age defined by rapid technological change and global challenges like climate change and social inequality.

Since its inception in 1999, the Biennale’s dance exhibition has continuously challenged the status quo, programming unconventional narratives while aligning with each director’s evolving vision. “These new narratives can foster a sense of connection, belonging, and purpose—guiding individuals and communities through difficult times.”

_{Wayne McGregor ON THE OTHER EARTH 2025. Photograph: Ravi Deepres}

As part of this year’s edition, McGregor premiered Wayne McGregor: On The Other Earth, the world’s first post-cinematic choreographic installation. This groundbreaking work reimagines dance performance as a fully immersive, sensorial experience.

Set within Jeffrey Shaw and Sarah Kenderdine’s towering architectural structure—eight meters wide and four meters tall—and projected onto a 26-million-pixel, three-dimensional screen, the piece combines choreography, digital imaging, and artificial intelligence. 

_{Wayne McGregor ON THE OTHER EARTH 2025. Photograph: Ravi Deepres}

Created with artists Ravi Deepres and Theresa Baumgartner, the work challenges our notions of movement, the body, and performance itself. That same spirit of progressive and inclusive creativity echoed throughout the festival, as choreographers explored varied viewpoints within broader global narratives. Juggling threads of invention, expression, and intention is no small feat. 

German-born, Tuscany-based choreographer Philippe Kratz, Artistic Director of Nuovo Balletto di Toscana, collaborated with Italian-Spanish choreographer Pablo Girolami to premiere a diptych grounded in myth. Titled Sisifo Felice (Happy Sisyphus, referencing the mythological figure condemned to endlessly push a boulder uphill), the piece employed graphic virtuosity, power dynamics, and gestural repetition to evoke the experience of struggle.

_{Kratz and Girolami. Photograph: Andrea Avezzù}

Kratz—whose company narrowly avoided shutting down earlier this year—met the uncertainty of the arts sector head-on, delivering a performance that felt both timeless and balanced. Dancers moved through sinuous patterns and bursts of chaotic freedom, capturing the emotional texture of resilience.

“It’s difficult to dance in Italy,” Kratz admitted. “It’s a lot harder than doing it in France, Germany, or Britain. Out of everything happening in Italy, I really believe La Biennale is the most international festival.”

“It’s challenging in one sense, because we’re one of the few companies that actually brought a new premiere to Venice. Most other works had already debuted elsewhere.” For Kratz, the myth of Sisyphus—especially as revisited by Albert Camus—reflects our present-day anxieties.

“I think the hardest task today is staying hopeful. We’re so informed, and often misinformed, with so much happening at once. Resilience, for me, carries a kind of dignity—it connects us, gives us strength, and helps us endure.”

Amid an unsettling score and fragmented choreography, the dancers moved with raw strength, alternating between careful pacing and occasional breakdowns in cohesion. The staging was sparse, but the themes were vast: solitude, hardship, and the pursuit of light in the darkest of times.

_{Kor’sia. Photograph: Andrea Avezzù}

As some dance companies become sleeker and more polished, Kor’sia’s Antonio de Rosa and Mattia Russo remain refreshingly untamed. Their piece, Simulacro, explored the body as both expressive vessel and moving facade—caught between the real and the virtual. Using a blend of artistic languages and advanced technologies, their performance created a disorienting yet immersive bilateral experience that underscored the increasingly porous boundary between reality and virtuality.

But how deeply can one truly connect with their body and soul?

_{Tânia Carvalho. Photograph: Andrea Avezzù}

Portuguese choreographer Tânia Carvalho offered a visceral answer. Presenting Ventre do Vulcão (Womb of the Volcano), she explored surrender—allowing movement to emerge beyond conscious control. Her choreography fused anguish, awe, and absurdity, where forms melted into one another or tangled in irony.

“It was interesting to see how this year’s Biennale brought together such diverse choreographic voices, all under a curatorial vision that felt open and multifaceted,” she told GLASS. “This was the first time I truly engaged with it. I premiered a solo called Ventre do Vulcão, which moves through emotional intensity and vulnerability, embracing both shadow and light—everything we carry within.”

_{Tânia Carvalho. Photograph: Andrea Avezzù}

Despite it being a world premiere, Carvalho felt complete freedom in the creative process.

“There was no pressure to conform. I felt a genuine trust in my vision, and that openness allowed me to fully explore the work. For me, freedom is essential in art—festivals should be eclectic spaces where different visions coexist.”

Carvalho’s work is deeply intuitive. “I rarely start with fixed meanings. I begin with sensations or images that feel urgent or alive. Later, I discover layers I hadn’t planned—almost like the work reveals something about myself and the world I inhabit. It’s a way of listening, as much as it is a way of expressing.”

Elsewhere, the Biennale College premiered an equally explosive and emotionally raw piece by multidisciplinary artists Matthew Totaro and Tamara Fernando. Their choreography explored identity, levity, and distortion—using the body as a weapon of liberation. It mirrored nature’s unpredictable patterns, clashing physical freedom against the weight of bodily consistency. “Showing off doesn’t mean giving consent, and exposure doesn’t justify assumption,” they noted.

“We live between two worlds: one fluid and boundless, the other fragile and deeply constrained. In that middle space, we must relearn what it means to accept without judgment.” Their piece charted a surreal evolution—from illusion to tangible reality. “We told the dancers to start as creatures—because we are creatures, like Frankenstein at the beginning.” 

_{William Forsythe. Photograph: Andrea Avezzù}

_{William Forsythe. Photograph: Andrea Avezzù}

A celebration of identity also pulsed through William Forsythe’s performance Friends of Forsythe, where dancers swayed like the tides of Venice’s lagoon—unburdened, playful, and raw. Characters in Forsythe’s world parody themselves, escaping reality through a soulful, self-invented language.

Looping gestures, awkward angles, and structured improvisation dominate, culminating in a controlled, poised flow rooted in classical line and balance. By the end, the energy soared—bodies twisting and curving, always returning to a centre of gravity.

All in all, the festival was weirdly satisfying: a celebration of resilience, mythology, and the stubborn brilliance of dance in all its unruly forms.

by Chidozie Obasi

The post Identity, Levity and Acts Of Resistance: Glass Goes to Venice Dance Biennale 2025  first appeared on The Glass Magazine.

VENICE, ITALY — When can a piece of theatre confuse the senses? When a series of dancers crosses the stage with long, enveloping lines, and strands of light beam through small fractions of their bodies, paired with a set design painstakingly created to offer a full sensory experience. Some may have asked: Is that real water, or is it a projection? It’s no easy feat to tell at first glance.

_{Photograph: Andrea Avezzù}

_{Photograph: Andrea Avezzù}

We see a pianist toying with scales and projecting his voice, fully absorbed and seemingly oblivious to the dancers on stage. The interplay between dance and acrobatics—and how they complement one another—is a crucial through-line: it blends timelessness with innovation, heightens the sense of gravity throughout the performance, and layers movements drawn from a wealth of dance styles. Very theatrical, yet intensely intimate at the same time.

As an exercise in scale and physicality, researching airy romance becomes the lingua franca at the heart of Bourgeois and Watson’s practice. One piece features dancers spinning up and down a child’s slide, echoing the shapes and mimicry of distorting objects across the stage floor—surprisingly beautiful.

_{Photograph: Andrea Avezzù}

“There are spaces from which we fall or to which we cling, spaces that simultaneously let us go and carry us away,” read the notes. “The aerial beauty of the movements and the play of light are accompanied by the fragility and nuance of Canadian folk music: to transcend, and perhaps better understand, our daily lives,” they continued.

_{Photograph: Andrea Avezzù}

Perhaps that’s why the performance drew our attention to the smallest of movements. Watson’s tracks are remarkable; the dancing and characterisation of the performers are utterly precise yet completely unforced, as if their bodies are simply vessels for these physical forces.

They barely leave a mark on the space—and yet, they’re a compelling presence. It may sound unreasonable, but that’s how it felt. And it’s exactly why so much happens in performance art within the realm of unexpected ambiences and creations alike.

by Chidozie Obasi

The post Venice Dance Biennale 2025: Yoann Bourgeois and Patrick Watson’s Airy Romance  first appeared on The Glass Magazine.