I’ve seen Garrett + Moulton’s The Luminous Edge three times now, and I’ve yet to plumb its deepest currents…
The National Ballet of China dancers are beautifully trained, surprisingly tall, willowy – even the men – and delicately featured.
Ballet NY’s 2015 season offered a mixed bill of promising diversity… (but there is a but)
Two 2 casts reeviewed – led out by Stella Abrera and a guesting Marianela Nunez. But the star of Cinderella is the ballet itself – Ashton’s tribute to Petipa, to silliness, and to the power of childlike wonder…
The Royal Ballet – Infra, Divertissements, The Age of Anxiety, The Dream, Song of the Earth – New York
These are dancers worth following in a wide repertory of works; it’s a shame to see them go while feeling we’ve barely gotten to know them better.
After an absence of eleven years, the Royal Ballet has finally returned to New York; they’re currently presenting two programs at the Koch Theatre,..
Copeland has earned her place center-stage, and it seems more likely than ever that she will be promoted to principal.
Alvin Ailey American Dance Theater – Exodus, Strange Humors, No Longer Silent, Revelations – New York
Battle (in No Longer Silent) responds with a brilliant visualization of the music’s intricate parts, a kind of neo-Rite of Spring for our time.
New York Theatre Ballet – Capriol Suite, Two Timing, Cat’s Cradle, Such Longing, Dark Elegies – New York
The program presented at St. Mark’s this past week reflects all of these positive developments; even more, it seemed infused with a new sense of assurance and identity.
One could imagine a fine partnership developing between Cornejo and Obraztsova. Both are generous and open-hearted performers.
There was no rest for the weary at the Joyce on Tuesday night, where Polish National Ballet whipped through its New York debut with an adrenalin-packed program.
The million-dollar question for any dancer on the cusp is this: can they carry an evening-length story ballet? The answer, on the evidence of Copeland’s début in Romeo and Juliet, is yes.
Harris’s Exodus, on the other hand, felt just right. Like so many pieces in the Ailey repertory, it suggests a spiritual quest, a journey toward the light…
But no end of fine, or even inspired, performances can breathe life into this tired production
George Balanchine’s Midsummer Night’s Dream is really two ballets, layered one upon the other.
Perhaps the most striking element in Alexei Ratmansky’s new Sleeping Beauty for American Ballet Theatre is its musicality, the way the steps, peppered with accents and breaths, unspool within the music.
The whole evening has the feeling of an extended experiment. We see Whelan ridding herself of ballerina habits and trying on new clothes.
In her début as the Sylph, Lovette was warm, soft, enticing, more child-like than enigmatic.
The American Ballet Theatre season continues with Giselle where Marina Harss saw Stella Abrera’s company debut. The response to the performance was understandably enthusiastic.
American Ballet Theatre know how to do a Gala and this was their 75th Anniversary as well – Everybody seemed to have a good time says Marina Harss…