★★★✰✰ A final poem, ‘Man Down’, calls for compassion and acceptance that we are all combinations of male and female. The message is in the words rather than in the bodies of the dancers.
★★★✰✰ Peony Pavilion has become a signature work for the National Ballet of China and it’s easy to see why it has come back.
★★★★✰ Jessica Lang’s Her Notes is a lovely and poetic work, though one with a slightly subdued effect. It is almost too tasteful.
American Ballet Theatre – Serenade after Plato’s Symposium, Symphonic Variations, Brahms-Haydn Variations + Fall Gala – New York
★★★★✰ A second look at Alexei Ratmansky’s Serenade after Plato’s Symposium confirms the impression formed last season. It is a fascinating work that represents a new direction for the choreographer.
★★★★✰ Some nights at the ballet you just get lucky: all the works are beautiful and the program is well balanced, and each of the casts is led by a ballerina who seems just right for the role.
Nobody surpasses New York City Ballet in sleekness and urbanity. The company is like a glistening skyscraper: sharp-edged, diamantine and, sometimes, a little cold…
Martha Clarke talks to Jann Parry about Chéri – at the ROH Linbury Studio Theatre, 29 Sept – 4 Oct 2015…
Amici’s production celebrating its 35th anniversary is its first for five years, during which time the company for able-bodied and disabled performers had somewhat slipped from public awareness.
The National Ballet of China dancers are beautifully trained, surprisingly tall, willowy – even the men – and delicately featured.
After a week of modernist works by Balanchine set mostly to Stravinsky, Hindemith, Webern, there’s no denying that a night of French music falls sweetly on the ear.
New York City Ballet – Serenade, Agon, Symphony in C, Donizetti Variations, La Valse, Chaconne – New York
In recent seasons New York City Ballet has gotten into the habit of starting things off with a week or two of Balanchine. It’s an excellent idea.
Alvin Ailey American Dance Theater is making a big deal out of its premieres this year, but at the company’s “All New” program during its City Center residency, Matthew Rushing’s Odetta was the standout work.
Gillian Lynne has made Helpmann and Benthall’s wartime collaboration into a gutsy dramatic ballet, probably with more choreography than Helpmann attempted.
At the risk of sounding like a broken record, is there a ballet choreographer working today who is more imaginative, more wholly himself, than Alexei Ratmansky?
Both as a tribute to Ashton and as a coming-out party, it’s hard to imagine how the festival could have gone better. The ballets are in good hands.
Boris Eifman can never be accused of shying away from the obvious… His representation of the life and times of Auguste Rodin creates spectacular and absorbing dance theatre…
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…
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.
The choreography looks like a steroid-fueled hybrid of Graham-based agony and the precision and fluidity of classical ballet. …nothing succeeds like excess…