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
Mark Morris Dance Group in Pacific.© Hilary Schwab. (Click image for larger version)

Mark Morris Dance Group – Lou 100: Pacific, Numerator, Serenade, Grand Duo – New York

★★★★✰   It’s one of the most striking characteristics of the Mark Morris Dance Group. A common sense of focus, an alertness to the music and to each other.

Carousel with choreography by Justin Peck.© Julieta Cervantes. (Click image for larger version)

Rodgers & Hammerstein’s Carousel (choreography by Justin Peck) – New York

★★★★✰   One of the most attractive things about the production is the way it brings together various worlds: ballet, Broadway, and opera.

Dada Masilo's Giselle - The Dance Factory, Johannesburg (2017).© John Hogg. (Click image for larger version)

Dada Masilo / The Dance Factory – Giselle – New York

★★★✰✰   Masilo’s is an uncompromising, ritualistic version of the story, with little room for redemption, and in its final scene, in which the spirits amass and advance upon Giselle’s seducer again and again, it tips over into a kind of animistic brutality…

Ahmaud Culver, Jasmine Hearn and Anna Witenberg in live performance as part of the Nick Mauss: Transmissions exhibition.© Paula Court. (Click image for larger version)

Interconnections: Thoughts on “Nick Mauss: Transmissions” at the Whitney in New York

Whiteny PR about the exhibition: “Artist Nick Mauss (b. 1980) presents Transmissions, a multidisciplinary work exploring the relationship between modernist ballet and the avant-garde visual arts in New York from the 1930s through ’50s.”

Amanda Treiber and Erez Milatin in Optimists.© Rachel Neville. (Click image for larger version)

New York Theatre Ballet – Beethoven/1999, Optimists, Dark Elegies, Double Andante – New York

★★★✰✰   All was danced with the quiet focus, lucidity, and unfussy delivery that characterize the company. No attention-grabbing fireworks…

Tiler Peck and Zachary Catazaro in Peter Walker’s Dance Odyssey.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Dance Odyssey, The Red Violin, Russian Seasons – New York

★★★✰✰   Like Walker’s first work for the company “Dance Odyssey” shows a lot of promise. It has warmth and humor, a good grasp of stage geometry and a sensitive musicality.

Arcell Cabuag in Upside Down.© Ayodele Casel. (Click image for larger version)

Evidence, A Dance Company – Come Ye, March, Den of Dreams, Upside Down, Dancing Spirit – New York

★★★★✰   Ronald K. Brown is one of those choreographers who returns to a similar mode in piece after piece, so it’s easy to take him for granted. But what a powerful mode it is.

Adrian Danchig-Waring, Tiler Peck and Ashly Isaacs in George Balanchine’s Apollo.© Paul Kolnik. (Click image for larger version)

New York City Ballet – All Balanchine No. 1 & 2, 21st Century Choreographers bills – New York

★★★★✰   After much tumult over the holidays, New York City Ballet has begun its first post-Peter Martins season. If you’re just catching up, the company’s “ballet master in chief” – ie artistic director – of over thirty years retired on New Years Day, in the midst of an investigation into allegations of physical abuse and sexual harassment.

Christopher Williams Il Giardino d’Amore.© Ian Douglas. (Click image for larger version)

Memorable Performances of 2017 – New York

Six Performances That Stayed with Me in 2017 – Marina Harss with her personal selection of New York dance memories this last year.

Chalvar Monteiro in Jamar Roberts' Members Don't Get Weary.© Paul Kolnik. (Click image for larger version)

Alvin Ailey American Dance Theater – 2 premieres: Victoria & Members Don’t Get Weary + many more – New York

★★★★✰   Roberts’ “Members Don’t Get Weary” is very much a mature work with a strong emotional charge and esthetic signature.

Liz Gerring Dance Company in Horizon.© Yi-Chun Wu. (Click image for larger version)

Liz Gerring Dance Company – Horizon – New York

★★★★✰   Gerring’s dances may be spare – she doesn’t go in for complicated designs or music – but they certainly don’t feel dry. They teem with energy and life.

Marcelo Gomes and Sara Mearns in The Red Shoes.© Daniel Coston. (Click image for larger version)

New Adventures – Matthew Bourne’s The Red Shoes – New York

★★★★✰   It’s always exciting to discover a new side of an artist. For this, and for an immensely entertaining show, we have to thank Matthew Bourne.

Sean Suozzi and Lauren King in Orange.© Erin Baiano. (Click image for larger version)

BalletCollective – The Answer, Orange, The Last Time This Ended, Translation – New York

★★★✰✰   What’s different about Schumacher’s dances isn’t so much the end result as the process. He always commissions new music and builds the ballet up from the bottom, with the help of an external source of inspiration.

American Ballet Theatre in I Feel The Earth Move.© Rosalie O'Connor. (Click image for larger version)

American Ballet Theatre – Souvenir d’un Lieu Cher, I Feel the Earth Move, Daphnis and Chloe – New York

★★★✰✰   The choreographer and L.A. Dance Project director Benjamin Millepied is a mover and a shaker, a clever curator, a man of taste, a force in the dance world. But is he good choreographer?

Christine Shevchenko and Calvin Royal III in Alexei Ratmansky's Songs of Bukovina.© Marty Sohl. (Click image for larger version)

American Ballet Theatre – The Gift, Songs of Bukovina, Thirteen Diversions – New York

★★★✰✰   In between the speeches and the short films came the dancing. The main attraction was the new Ratmansky work, Songs of Bukovina…

David Hallberg in Mark Morris’s Twelve of ‘em.© Stephanie Berger. (Click image for larger version)

Fall for Dance – New works by Michelle Dorrance, Kyle Abraham, Sara Mearns and Honji Wang, Mark Morris – New York

★★★✰✰   I caught all four new works: an expanded version of Michelle Dorrance’s Myelination, Kyle Abraham’s Drive, the Sara Mearns and Honji Want collaboration No. 1, and Mark Morris’s solo Twelve of ‘em for David Hallberg.

Unity Phelan and Zachary Catazaro in Christopher Wheeldon’s Polyphonia.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Liturgy, Polyphonia, Odessa, The Times are Racing – New York

★★★★✰   The oldest piece on the program is Wheeldon’s Polyphonia. Made in 2001, it has stood the test of time. Just last week it was performed at the Fall for Dance festival…

Sara Mearns and Jared Angle in Justin Peck's Pulcinella Variations.© Paul Kolnik. (Click image for larger version)

New York City Ballet – Fall Gala: new work by Schumacher, Reisen, Lovette, Peck – New York

★★★✰✰   At New York City Ballet, the fall fashion gala has become a showcase for work by young choreographers. Each one is paired up with a fashion designer and voilà, it’s an event.

Rosas in A Love Supreme.© Maria Baranova. (Click image for larger version)

Anne Teresa De Keersmaeker/ Rosas with Salva Sanchis – A Love Supreme – New York

★★★★✰   Oh, Anne Teresa De Keersmaeker. What other choreographer can so doggedly drive a viewer to the verge of despair and then, almost casually, throw open the doors to ecstasy, all within the span of an hour?

Twyla Tharp.© Robert Whitman. (Click image for larger/full version)

Twyla Tharp Dance – The Raggedy Dances, The Fugue, Entr’acte, Dylan Love Songs – New York

★★✰✰✰   It all sounds terribly promising, and yet the evening falls as flat as a soufflé left in the oven for too long.

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