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…
…an unusual choice of bill. Unusual firstly as the work of two women choreographers, and secondly in that it gives audiences a rare chance to see ballets from the extremely interesting and creative period of the 1940’s and 1950’s, now sadly neglected.
George Balanchine’s favorite composers may have been Stravinsky and Tchaikovsky, but it’s no secret that he also had an affinity for France and its music…
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.
Acheron, Liam Scarlett’s new piece, revealed a choreographer of prodigious imagination and compositional craft, adept at building an atmosphere and suffusing it with traces of meaning.
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…
So Reflections could have a lot resting on it, if the eventual tryptich is to be a 21st century equivalent of Balanchine’s Jewels…
Jeu de Cartes, by Peter Martins, is jaunty and busy, a cross between the pas de deux in Balanchine’s Rubies, the trios in Danses Concertantes, and the non-stop action of Martins’ Fearful Symmetries….
The Ballet v6.0 Festival has just been on at New York’s Joyce Theater and Marina Harss was there for. So where are young choreographers taking contemporary ballet…?
I said it was the must-see show of the year in 2008, and – while there are a lot of great musicals now around in the West End today – this is still one that must be seen.
The first bravo for the Boston Ballet’s return to London must go to artistic director Mikko Nissinen, for his clever and highly successful programming for opening night.
After twenty-six years in Miami, Edward Villella is back in New York, just across the East River from his old stomping grounds in Bayside Queens. He was an unlikely danseur, a scrappy kid…
Like a Fabergé egg with a tiny golden bird inside, Sylvia is decadent, a bit indulgent, but delightful.
This book serves as a timely tribute to an incredible man whose vision and dedication to his art has established one of the world’s finest classical ballet systems.
But ‘A Place for Us’ (new Wheeldon) feels like a bauble, not quite a jewel.
From Foreign Lands: “This amusing, yet subtle send-up of classical ballet is rewarding in its expertly-shaped choreography, and made all the more appealing by the slight wackiness of the costumes and visual jokes.”
The second movement (of Son Of Chamber Symphony) is a sumptuous duet, performed by Victoria Jaiani and Fabrice Calmels, an on-stage pair made in heaven.
Toba Singer talks to José Manuel Carreño: “Coming from Cuba, with the Cuban school you end up with a very strong foundation because you train so much in technique and partnering. These are two things that were very strong from the Cuban school, but on top of that, there was a lot of attention paid to the theatrical elements…”
Sara Mearns has been New York City Ballet’s reigning Swan Queen since her breakout performance in 2006, when she was only nineteen years old and a member the corps de ballet. It was a performance of surprising intensity, edged with danger.
N.Y. Export: Opus Jazz is certainly not Robbins’ finest or most original work but perhaps because of its relative straightforwardness, it reveals much about what is so remarkable about this choreographer.