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
★★★✰✰ Twyla Tharp is a kind of dance wizard – steps pour out of her like torrents in a waterfall.
★★★★✰ This is a production that lives and breathes, and which rewards multiple viewings, changing subtly with each cast.
★★★★✰ One can only imagine the satisfaction of dancing such a role at the age of 53, to a full house, among friends. The ovations were rapturous and went on for a long time.
Alvin Ailey American Dance Theater – Open Door, Untitled America: Second Movement, No Longer Silent, Exodus, Deep, Vespers, The Hunt, Revelations – New York
★★★✰✰ It’s a truism that any afternoon that includes Alvin Ailey’s Revelations is apt to leave you happy.
School of American Ballet – Workshop Performance: Danses Concertantes, Les Gentilhommes, The Four Temperaments – New York
★★★★✰ Each spring, the School of American Ballet, New York City Ballet’s breeding-ground, holds a series of “Workshop” performances to show off the crème de la crème of its upper-level students.
★★★★✰ American Ballet Theatre’s spring season has turned into a kind of voyage into the mind of Alexei Ratmansky, its choreographer-in-residence since 2009.
★★★✰✰ Have you ever left a performance of contemporary ballet desperate for some color, some light, some human warmth?
★★★★✰ But the kids are just one element of what makes Midsummer tick. Another is the intelligence and efficiency with which the ballet tells its story.
★★★★★ La Fille Mal Gardée is a ballet that glows from within, lighthearted, tender and bursting with happy ideas.
★★★✰✰ This is no second-rate student group. The Gelsey Kirkland Academy is doing something right.
★★★✰✰ Shostakovich Trilogy is a rich work, containing too much to take in at a single sitting. It reveals some of its secrets, but not all.
★★★✰✰ Every few years the Mark Morris Dance Group presents an evening of dances at the company’s Brooklyn headquarters, a nondescript brick building across from BAM…
More from ABT’s run of Ashton’s “Sylvia” – the time Marina Harss reviews Maria Kochetkova and Herman Cornejo…
★★★★✰ Part of the secret to Sylvia is of course Léo Delibes’s score; like the story, it has its silly moments, but when it soars, it is utterly seductive…
★★★★✰ Vienna Waltzes is a sure-fire hit. It seduces on many fronts: the ridiculously flattering gowns by Karinska (her last for the company), the sumptuous music, the multitudes of dancers…
★★★✰✰ It wouldn’t be spring without ballet galas. This week it was New York City Ballet’s turn. On the program were two new works, by Christopher Wheeldon and the relatively unknown Nicolas Blanc, the latter a veteran of the New York Choreographic Institute.
★★★✰✰ 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.