Last spring, live dance began its gradual return to New York City. The wait had been long, and the longing intense. I remember the first performance I saw in New York as if it were yesterday.
Tag - Lauren Lovette
★★★★✰ The choices Jamar Roberts made for his final show were, unsurprisingly, apt. The program began with a solo for himself, You Are the Golden Hour that Would Evanesce, created for the occasion...
★★★✰✰ "Sometimes, American Ballet Theatre is a conundrum... The repertory can be so uneven that from one day to the next, one’s opinion of the entire company shifts."
★★★★✰ Lauren Lovette has just said farewell to NYCB. Marina Harss on some moving performances - "The ovation was heartfelt, and went on for a long time."
★★★★✰ Marina Harss with thoughts/observations on La Valse, Other Dances, After the Rain pas de deux, Agon, Monumentum Pro Gesualdo, Movements for Piano and Orchestra and Chaconne.
There was a rush of emotion at seeing these extraordinary dancers doing the thing they do best. Their energy, precision, and drive, the way they change the space around them, is inspiring...
★★★✰✰ In the last week of its winter season, New York City Ballet unveiled a new work by its resident choreographer, Justin Peck, to a score by the popular neo-Minimalist composer Nico Muhly. It was a homecoming of sorts for Peck...
★★★★✰ There was always something new around the corner, a surprising shape, a witty step, an unlikely transition. It’s clear that Ratmansky felt liberated by the unusual structure and soundscape...
★★★★✰ New York City Ballet is off to a fine start when it opens the winter season with a very well-danced all Balanchine, all Stravinsky program.
★★★✰✰ Kudos to Lovette for really going out on a limb... The Shaded Line feels truly her own, and it’s clear that she has much to say about her chosen profession...
★★★★✰ There’s a reason why New York City Ballet doesn’t do George Balanchine’s Scotch Symphony very often. It’s a strangely disjointed ballet...
★★★✰✰ There was virtually nothing to fault with "In the Night" on Saturday — each couple was well matched, and Robbins’ unique capacity to imbue classical form with the richness of human experience again seems unparalleled
★★★✰✰ The fall season is too brief, particularly because it always feels as though it takes the company a few days to warm itself up. The dancing at the gala on Oct. 17 was a little slapdash, but by Friday things had begun to settle.
★★★✰✰ No evening of new works is perfect; the excitement lies in the hope that at some point some magic will happen. And in that solo for Taylor Stanley by Kyle Abraham, we got a glimpse of that magic.
★★★✰✰ Bouder's pick-up ensemble of eight, which she refers to as an arts collaborative, reflects her ideals. It is racially diverse; the choreographers include both men and women. Not all the choreographers are white. This should be par for the course, but it’s not.
★★★★✰ It was a good night for Afternoon of a Faun, in particular. Chase Finlay, débuting in the role of the young dancer sensually lolling about a ballet studio, brought back the eroticism this ballet often lacks.
★★★★✰ 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...
★★★✰✰ 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.
★★★✰✰ To watch works created by the 29-year old Justin Peck, resident choreographer of New York City Ballet, is to experience what it feels like to be young.
★★★✰✰ With his latest, The Decalogue, which opened on May 12, Justin Peck seems to have turned a new page...