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
★★★✰✰ What do you do with a problem like Jewels? This 1967 blockbuster by George Balanchine is a hard one to pull off…
★★★★✰ Michelle Dorrance is an extraordinary tapper, but what stands out most about her company isn’t her skill, or the skill of her dancers, but rather the funky individuality they all share.
★★★✰✰ The Dancing the Gods festival, presented by the World Music Institute and co-curated by the dancer and scholar Rajika Puri, is a reliable place to see good, and sometimes great Indian classical dance.
★★★★✰ New York is a good place to be in springtime.
Miami City Ballet – Program’s A (Balanchine, Tharp, Ratmansky), B (Peck, Scarlett, Balanchine) – New York
★★★★✰ New York audiences and the Miami City Ballet have taken to each other like sun and salt air, and it’s easy to see why.
★★★★✰ This is dancing that makes one hungry for more.
★★★✰✰ Corella’s current crop of dancers are strong and adaptable, and he seems to favor shorter dancers with very clean footwork and strong technique…
★★★✰✰ The past few years have seen the beginning of a transformation of the Paul Taylor Dance Company – or, rather, as it’s now known, of Paul Taylor’s American Modern Dance. The company is looking to the future…
★★★✰✰ The dancers are young, but already skilled. They’re well trained, well-rounded. But they don’t yet have strong artistic personalities. That can be a good thing…
★★★✰✰ Flamenco is a difficult category to put your finger on these days; there are about as many approaches as there are dancers. But Joaquín Grilo is fairly old-school…
Pacific Northwest Ballet – A Million Kisses to my Skin, The Vertiginous Thrill of Exactitude, Emergence – New York
★★★✰✰ Overall, the impression was of a company in top form, at ease in a variety of styles. The dancers have an easy-going, open demeanor that makes even the knottiest works look more appealing.
★★★★✰ Clarity of execution is a hallmark of this Seattle-based company, which has been led since 2005 by the former New York City Ballet star, Peter Boal.
New York City Ballet – Ash, This Bitter Earth, The Infernal Machine, Jeux, Paz de la Jolla – New York
★★★✰✰ Handsome to look at, with its film-noir lighting and flattering black 1940’s style dresses (by Marc Happel), Jeux nevertheless proves to be rather thin…
Pam Tanowitz Dance – the story progresses as if in a dream of glittering surfaces, Heaven on One’s Head – New York
★★★✰✰ “There are choreographers who make one go hot and cold, and one of those, for me, is Pam Tanowitz.”
★★★✰✰ The Bournonville footwork and even the mime are there, but there’s little sense of joy or pathos of any kind.
★★★✰✰ ” Bond’s strength, for now, lies in a kind of old-fashioned insistence on beauty and her ability to coax sensitive, generous performances out of her dancers.”
★★★✰✰ “But it turns out that the pleasures of excess are really not enough to hold one’s interest if the underlying material is thin.”