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
National Ballet of China in the Red Detachment of Women.© National Ballet of China. (Click image for larger version)

National Ballet of China – Peony Pavilion, Red Detachment of Women – New York

The National Ballet of China dancers are beautifully trained, surprisingly tall, willowy – even the men – and delicately featured.

Marianela Nuñez and James Whiteside in Cinderella.© MIRA. (Click image for larger version)

American Ballet Theatre – Cinderella – New York

Two 2 casts reeviewed – led out by Stella Abrera and a guesting Marianela Nunez. But the star of Cinderella is the ballet itself – Ashton’s tribute to Petipa, to silliness, and to the power of childlike wonder…

Tristan Dyer in Liam Scarlett’s The Age of Anxiety.© ROH, 2014. Photographed by Bill Cooper. (Click image for larger version)

The Royal Ballet – Infra, Divertissements, The Age of Anxiety, The Dream, Song of the Earth – New York

These are dancers worth following in a wide repertory of works; it’s a shame to see them go while feeling we’ve barely gotten to know them better.

Marianela Nuñez and Nehemiah Kish in Song of the Earth.© Dave Morgan, courtesy the Royal Opera House. (Click image for larger version)

The Royal Ballet – The Dream, Song of the Earth – New York

After an absence of eleven years, the Royal Ballet has finally returned to New York; they’re currently presenting two programs at the Koch Theatre,..

Misty Copeland in Swan Lake.© Darren Thomas, Queensland Performing Arts Centre. (Click image for larger version)

American Ballet Theatre – Swan Lake (Copeland/Whiteside) – New York

Copeland has earned her place center-stage, and it seems more likely than ever that she will be promoted to principal.

Alvin Ailey American Dance Theater in Robert Battle's No Longer Silent.© Paul Kolnik. (Click image for larger version)

Alvin Ailey American Dance Theater – Exodus, Strange Humors, No Longer Silent, Revelations – New York

Battle (in No Longer Silent) responds with a brilliant visualization of the music’s intricate parts, a kind of neo-Rite of Spring for our time.

New York Theatre Ballet in Ashton's Capriol Suite.© Yi-Chun Wu. (Click image for larger version)

New York Theatre Ballet – Capriol Suite, Two Timing, Cat’s Cradle, Such Longing, Dark Elegies – New York

The program presented at St. Mark’s this past week reflects all of these positive developments; even more, it seemed infused with a new sense of assurance and identity.

Evgenia Obraztsova and Herman Cornejo in Romeo and Juliet.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – Romeo and Juliet (Obraztsova/Cornejo) – New York

One could imagine a fine partnership developing between Cornejo and Obraztsova. Both are generous and open-hearted performers.

Misty Copeland and Alexandre Hammoudi in Romeo and Juliet.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – Romeo and Juliet (Copeland/Hammoudi) – New York

The million-dollar question for any dancer on the cusp is this: can they carry an evening-length story ballet? The answer, on the evidence of Copeland’s début in Romeo and Juliet, is yes.

Doug Fullington, in the studio with Marian Smith, working on Giselle at Pacific Northwest Ballet.© Angela Sterling. (Click image for larger version)

Doug Fullington – on Stepanov Notation

Some of the great 19 century Russian ballet classics were recorded in Stepanov notation – Doug Fullington is one of the few people in the world who can understand Stepanov’s hieroglyphics and what they represent for those looking to do justice to the past…

Jamar Roberts in Exodus.© Paul Kolnik. (Click image for larger version)

Alvin Ailey American Dance Theater – Exodus bill – New York

Harris’s Exodus, on the other hand, felt just right. Like so many pieces in the Ailey repertory, it suggests a spiritual quest, a journey toward the light…

Hee Seo and Kimin Kim in La Bayadère.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – La Bayadère – New York

But no end of fine, or even inspired, performances can breathe life into this tired production

Teresa Reichlen in A Midsummer Night's Dream.© Paul Kolnik. (Click image for larger version)

New York City Ballet – A Midsummer Night’s Dream – New York

George Balanchine’s Midsummer Night’s Dream is really two ballets, layered one upon the other.

American Ballet Theatre in Alexei Ratmansky’s The Sleeping Beauty.© Doug Gifford. (Click image for larger version)

American Ballet Theatre – The Sleeping Beauty – New York

Perhaps the most striking element in Alexei Ratmansky’s new Sleeping Beauty for American Ballet Theatre is its musicality, the way the steps, peppered with accents and breaths, unspool within the music.

Wendy Whelan and Brian Brooks in the studio.© Erin Baiano. (Click image for larger version)

Wendy Whelan – Restless Creature bill – New York

The whole evening has the feeling of an extended experiment. We see Whelan ridding herself of ballerina habits and trying on new clothes.

Lauren Lovette and Anthony Huxley in La Sylphide.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Bournonville Divertissements, La Sylphide (Lovette debut) – New York

In her début as the Sylph, Lovette was warm, soft, enticing, more child-like than enigmatic.

American Ballet Theatre in Giselle.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – Giselle (Abrera debut) – New York

The American Ballet Theatre season continues with Giselle where Marina Harss saw Stella Abrera’s company debut. The response to the performance was understandably enthusiastic.

Joseph Gorak in Études.© Gene Schiavone. (Click image for larger version)

American Ballet Theatre – 75th Anniversary Gala – New York

American Ballet Theatre know how to do a Gala and this was their 75th Anniversary as well – Everybody seemed to have a good time says Marina Harss…

Sara Mearns and Ask La Cour in Balanchine's Walpurgisnacht.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Walpurgisnacht Ballet, Sonatine, La Valse, Symphony in C – New York

After a week of modernist works by Balanchine set mostly to Stravinsky, Hindemith, Webern, there’s no denying that a night of French music falls sweetly on the ear.

Devon Teuscher in Pillar of Fire.© Marty Sohl. (Click image for larger version)

American Ballet Theatre – Les Sylphides, Pillar of Fire, Fancy Free, Theme and Variations – New York

There are times when a dance lover just can’t believe her good fortune and one of those times comes around once a year in New York…

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