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
In both shows, the most exciting element was the push-and-pull between the music-making and the dancing.
After its premiere in Paris last autumn, Christopher Wheeldon’s An American in Paris is about to open in New York. Marina Harss talks to Wheeldon and the 2 stars of the show – Leanne Cope and Robert Fairchild…
None of it made any sense, and yet there were moments of heart-catching beauty…
Flexn is interesting because it seems to be just as much about narrative as it is about moves. The dancers take the lyrics of rap and hip hop songs and make stories out of them.
There are dances that grip you from the first moment, and others that get under your skin, little by little, drop by drop. Liz Gerring’s Glacier is the latter…
Paul Taylor – Sunset, Death and the Damsel, Brandenburgs, Company B, Passacaglia and Fugue, Piazzolla Caldera – New York
The Paul Taylor Dance Company, rechristened Paul Taylor’s American Modern Dance, is in the midst of its yearly three-week New York run at the Koch Theater. This is a pivotal time for the company…
The eight dancers under Mr. Swinston’s care have had time to absorb the complicated coordination and autonomy that lies at the heart of this style.
Baras is the undisputed star, at times joined by José Serrano or a small ensemble of six, and backed by an excellent group of musicians and singers.
MalPaso Dance Company is a product of an evolving Cuba, finding its way, looking out at the world beyond the island.
There’s something almost too private about the way these dancers handle each other. Weare’s natural habitat is the duet, which in many cases has the flavor of a mortal combat.
If Harlequinade is somewhat less than the sum of its parts, Square Dance (1957), which preceded it on the program, never fails to lift the heart.
New York City Ballet – Pictures at an Exhibition, ‘Rōdē,ō: Four Dance Episodes, Mercurial Maoeucres – New York
‘Rōdē,ō: Four Dance Episodes premiere: It turns out that this combination of male vigor, Copland, and Peck is a felicitous one.
More from the NYCB Winter Season with Marina Harss reviewing 2 bills made up of 6 works: Concerto Barocco, The Goldberg Variations, Symphonic Dances, The Cage, Andantino and Cortege Hongrois…
Too much Chopin? Perhaps.
New York City Ballet – Serenade, Agon, Symphony in C, Donizetti Variations, La Valse, Chaconne – New York
In recent seasons New York City Ballet has gotten into the habit of starting things off with a week or two of Balanchine. It’s an excellent idea.
…the Ukrainian-born soloist Anastasia Matvienko was a pliant, loose-limbed Cinderella who danced with uninhibited ease and looked perfectly at home in Ratmansky’s goofy interpretation of the character.
The ballet radiates warmth, but also an awareness of death….
Year after year, I see Balanchine’s Nutcracker, and year after year I marvel at its perfection. This year it turns sixty.
When music, words and movement are combined, our minds are pulled in different directions.