Author: Marina Harss

Marina Harss is a free-lance dance writer and translator in New York. Her dance writing has appeared in the New Yorker, The Nation, Playbill, The Faster Times, DanceView, The Forward, Pointe, and Ballet Review. Her translations, which include Irène Némirovsky’s “The Mirador,” Dino Buzzati’s “Poem Strip,” and Pasolini’s “Stories from the City of God” have been published by FSG, Other Press, and New York Review Books. You can check her updates on Twitter at: @MarinaHarss

Under are the articles written for DanceTabs. Reviews on Balletco
Paco Peña.© and courtesy Paco Peña, Columbia Artists Management Inc. (Click image for larger version)

Paco Peña – Flamencura – New York

Peña’s show, which came to the The Town Hall for a single performance, uses an extremely spare model – flamenco performance as family gathering.

Rika Okamoto and Matthew Dibble in Yowzie publicity image.© Ruven Afanador. (Click image for larger version)

Twyla Tharp – 50th Anniversary Tour: First Fanfare, Preludes and Fugues, Second Fanfare, Yowzie – New York

…one can’t help but admire the torrent of ideas bouncing around Tharp’s brain…

David Prottas and Taylor Stanley in The Last Time This Ended.© Matthew Murphy.

BalletCollective – All That We See, Dear and Blackbirds, The Last Time This Ended, Invisible Divide – New York

Troy Schumacher, a dancer at New York City Ballet as well as a choreographer and founder of the chamber dance company Ballet Collective, is a determined soul…

Donald Byrd in The Minstrel Show Revisited.© Ian Douglas. (Click image for larger version)

Donald Byrd and Spectrum Dance Theater – The Minstrel Show Revisited – New York

The central conceit is unchanged; Byrd riffs on the format of the minstrel show, a revue-style entertainment that predated vaudeville and included dancing, low comedy, variety acts. White actors performed in blackface, creating broad parodies of what they perceived as African American archetypes…

Anne Teresa De Keersmaeker and Boris Charmatz in Partita 2.© Anne Van Aerschot. (Click image for larger version)

Anne Teresa De Keersmaeker and Boris Charmatz – Partita 2 – New York

Like her recent “Cesena and En Atendant”, “Partita 2” is very much about the experience of listening.

James Whiteside in Marcelo Gomes’ AfterEffect.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – AfterEffect, (Company B, The Green Table) – New York

…mostly the ballet (AfterEffect) is an enthusiastic love letter from Gomes to his company, and was received as such by the enthusiastic audience at the Koch…

Ballet Memphis in Gabrielle Lamb's I Am A Woman: Moult.© Ari Denison. (Click image for larger version)

Ballet Memphis – Confluence, I Am a Woman: Moult, The Darting Eyes, Politics – New York

Without a doubt, the most eccentric piece on the program is Gabrielle Lamb’s I Am a Woman: Moult, originally commissioned as part of an evening of works by women choreographers. (A noble cause.) …

ABT in The Green Table.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – After You, Le Spectre de la Rose, Valse Fantaisie, The Green Table, Valse Fantaisie, Company B – New York

A highlight of the season is the return of Kurt Jooss’s The Green Table, made in 1932. This meditation on the folly of war in eight scenes has lost none of its punch…

Aakash Odedra in Murmur.© Ars Electronica Linz GmbH / Veronika Pauser. (Click image for larger version)

Aakash Odedra Company – Ink, Murmur – New York

…a perfect example of what can happen when an exceptional practitioner is led astray by an excess of theatrical ideas and special effects.

Gillian Murphy and Sterling Baca in After You by Mark Morris.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – After You, Monotones I & II, Brahms-Haydn Variations – New York

ABT galas are more laid-back than City Ballet’s; they’re less “produced,” with fewer speeches or slick video presentations. For the most part, the company just gets on with the show, with minimum fuss.

Dance Heginbotham publicty image.© Janelle Jones. (Click image for larger version)

Dance Heginbotham – Angel’s Share, Diamond, Easy Win – New York

Heginbotham has a knack for choosing just the right music for his dances, none of it hackneyed or used solely for its atmospheric qualities: no Arvo Pärt, no Philip Glass…

Adrian Danchig-Waring and Sara Mearns in Kim Brandstrup's Jeux.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Jeux + Polaris, The Blue Distance, Common Ground, New Blood – New York

Jeux, has a distinctly adult atmosphere and a highly cinematic look. Actually, the look might be the most interesting thing about it…

Aparna Ramaswamy.© and courtesy of NCPA. (Click image for larger version)

Aparna Ramaswamy – They Rose at Dawn – New York

Ramaswamy is a natural allegro dancer; she’s high-spirited, warm, vivacious. But, at least tonight, she didn’t seem inclined to delve into the contrasting qualities of languor or sensual ardor

New York City Ballet in George Balanchine’s Liebeslieder Walzer.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Liebeslieder Walzer, Tchaikovsky Suite No. 3 – New York

A great Liebeslieder is like a short story, a complete world in fifty minutes of dancing; this Liebeslieder is still a work in progress.

Deborah Lohse and Mark Gindick in Doug Elkins' Hapless Bizarre.© Jamie Kraus for Jacobs Pillow 2014. (Click image for larger version)

Fall For Dance Festival at City Center – Programs 1 and 2 – New York

For twelve years, the Fall for Dance festival has been going strong, and one can see why. No other dance series offer such an expansive, egalitarian and uncomplicated glimpse of what’s going on in dance…

Georgina Pazcoguin and Meagan Mann in Justin Peck's New Blood, in costumes by Humberto Leon of Opening Ceremony and Kenzo.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Fall Gala, with 4 premieres – New York

Nobody surpasses New York City Ballet in sleekness and urbanity. The company is like a glistening skyscraper: sharp-edged, diamantine and, sometimes, a little cold…

Izumi Higa; courtesy of Yokohama Noh Theater.© Yoshiaki Kanda. (Click image for larger version)

Japan Society – Traditional Dance from Okinawa – New York

The Japan Society consistently offers up some of the most eye-opening, refined evenings of music and dance in New York. One senses a real care in the curation…

Travis Clausen-Knight, Marie-Agnès Gillot, Louis McMiller in Tree of Codes.© Stephanie Berger. (Click image for larger version)

Wayne McGregor | Random Dance & Paris Opera Ballet – Tree of Codes – New York

With her startling presence, Gillot manages to supply Tree of Codes with the sense of purpose it otherwise lacks.

Julio Bocca.© Leo Barizzoni. (Click image for larger version)

Julio Bocca – Director Ballet Nacional SODRE in Montevideo

Julio Bocca, much loved but now no longer dancing, has a new life in Montevideo, running Ballet Nacional SODRE. Marina Harss talks to a busy man rebuilding his company – fast…

Esme Boyce in her A Pair of Ideal Landscapes.© Lora Robertson. (Click image for larger version)

Satellite Collective – BAM Fisher bill – New York

Collaboration can be a wondrous thing, but it’s no guarantee.

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