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
Unspecified work in Gemma Bond's Harvest bill.© Kathryn Wirsing. (Click image for larger version)

Gemma Bond – Harvest: Being, Manner, Depuis le Jour, Then and Again – New York

★★★✰✰ ” 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.”

Hilly Bodin as Snow White and Courtney Giannone as The Prince in Snow White.© Mark Shelby Perry. (Click image for larger version)

Company XIV – Snow White – New York

★★★✰✰ “But it turns out that the pleasures of excess are really not enough to hold one’s interest if the underlying material is thin.”

Jamie Scott and Cecily Campbell in Newark (Niweweorce).© Stephanie Berger. (Click image for larger version)

Trisha Brown Dance Company – Set and Reset, Present Tense, Newark (Niweweorce) – New York

★★★★✰ “One of the things I admire most about these works is the degree to which men and women are interchangeable. Brown’s movement has no maleness or femaleness attached to it…”

Mirò Magloire.© Jacqueline Lopez. (Click image for larger version)

Dance Like an Egyptian – Mirò Magloire and choreographing for Aida

In the world of opera, dance has a rather low place on the totem pole. Music critics (and opera audiences) can be pretty dismissive…

Sterling Hyltin in Mozartiana.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Walpurgisnacht Ballet, Sonatine, Mozartiana, Symphony in C – New York

★★★★✰ Some nights at the ballet you just get lucky: all the works are beautiful and the program is well balanced, and each of the casts is led by a ballerina who seems just right for the role.

Sara Mearns and Adrian Danchig-Waring in Glass Pieces.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Masters at Work and All Balanchine I bills – New York

★★★★✰ (20), ★★★✰✰ (21) The temperature in Glass Pieces was uncharacteristically low. Under the baton of Clotilde Otranto, the orchestra sounded muffled…

Soledad Barrio (Antigona) and Juan Ogalla (Haemon) in Antigona.© Zarmik Moqtaderi. (Click image for larger version

Noche Flamenca – Antigona – New York

One of the most effective elements is also the most innovative: the inclusion of a dancer specializing in krumping…

Mark Morris's The Hard Nut.© Julieta Cervantes. (Click image for larger version)

Mark Morris Dance Group – The Hard Nut – New York

As with the Balanchine version, the Hard Nut’s success is a foregone conclusion.

Jacqueline Green in Kyle Abraham's Untitled America: First Movement.© Paul Kolnik. (Click image for larger version)

Alvin Ailey American Dance Theater – Memoria, Piazzolla Caldera, Grace, Polish Pieces, Untitled America: First Movement, Awakening, Revelations – New York

Warmth, exuberance, power, finesse – all these qualities infuse everything they do.

Lauren King and New York City Ballet in The Nutcracker.© Paul Kolnik. (Click image for larger version)

New York City Ballet – The Nutcracker – New York

Tchaikovsky’s Nutcracker… has been described as a “symphony of childhood”; it is that, and more.

Linda Celeste Sims and Glenn Allen Sims in Alvin Ailey's Revelations.© Andrew Eccles. (Click image for larger version)

Alvin Ailey American Dance Theater – Toccata, After the Rain pdd, Awakening, Revelations – New York

Every fall, just after Thanksgiving, Alvin Ailey American Dance Theater sets up shop at City Center, as sure a sign of the season as Christmas carols at the grocery store.

Souleymane Badolo in Yimbégré.© Stephanie Berger. (Click image for larger version)

Souleymane Badolo – Yimbégré – New York

What constitutes an African dance? What meaning lies behind the steps? Souleymane Badolo, born and trained in Burkina Faso and a resident of Brooklyn since 2009, has been exploring this question for years…

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…

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