It would be invidious to compare Wendy Whelan’s brave attempt to reinvent herself as a contemporary dancer with Sylvie Guillem’s far more mature achievement.
It is even more disappointing that the troupe should open its run with a Swan Lake so lackluster… It’s not the dancers’ fault. At every level, the Bolshoi dancers move with thrilling force and fullness.
Who but Frederick Ashton could turn a marital spat into one of the most delightful, touching works in the ballet repertoire? His 1964 The Dream is precisely that…
At the outset I have to say I thought this year was one of the better years and we should all feel encouraged at the creativity on show.
Opening night of New York City Ballet’s spring season wasn’t a gala, but there was a festive buzz in the theatre nonetheless. The ballets were all by living choreographers; the oldest dated from 1988, half were of more recent vintage.
Two young NYCB choreographers have been out talking and showing what they do: Justin Peck at the Guggenheim and Troy Schumacher at the 92nd Street Y. Marina Harss on why they are so worth tracking…
Some dancers leave us wanting more. That’s how Jenifer Ringer’s retirement from New York City Ballet feels; we’ve seen so little of her in recent seasons, and she’s dancing so well.
The Royal Ballet are pushing their cinema relay performances as a way of getting ‘out there’- so what’s it like to see Osipova and Acosta out in the sticks? Margaret Willis gives her view and talks to others on the experience…
The Nutcracker – from New York City Ballet, American Ballet Theatre and Gelsey Kirkland Ballet – New York
So far this season I’ve seen three “traditional” Nutcrackers: Ratmansky’s version for American Ballet Theatre, Gelsey Kirkland’s, and the familiar and much-loved 1954 staging by George Balanchine for New York City Ballet. All three have their charms…
Novels are treacherous terrain for choreographers. So much of what draws us into a book and imprints itself in our imagination …is almost impossible to convey in the language of the body.
At times the choreography doesn’t seem to fit this space… Nonetheless, the dancers do a remarkable job with what they are given.
American Ballet Theatre – Theme and Variations, The Moor’s Pavane, A Month in the Country, Piano Concerto #1 – New York
On Sunday, American Ballet Theatre’s two-week fall season draws to a close. By most measures, it’s been a success…
Throughout the Bach Partita, Tharp’s movement is technical, precise, and highly articulated. As with Balanchine, the bodies are always distinct, framed in space.
American Ballet Theatre – Opening Night Gala: The Tempest (premiere), Theme and Variations, Aftereffect – New York
Fashioning a ballet out of The Tempest is no small endeavor. How does one distill Shakespeare’s rather complex play into forty-six wordless minutes….
San Francisco Ballet – From Foreign Lands, Beaux, Classical Symphony and Symphonic Dances – New York
In its second mixed bill here in New York, San Francisco Ballet once again impressed with its vitality and the depth of its bench, as well as with its pleasantly unified look.
San Francisco Ballet is in town for two weeks, and on the evidence of opening night, this should be an invigorating visit. The company looks to be in top form.
My father asked my original teacher in Rockville, Ms. Hood, whether it was viable for me to become a dancer, and she said she thought I could, even though I wasn’t blessed with beautiful legs and feet. But I had a lot of other assets…