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.
Author - Marina Harss
Marina Harss is a free-lance dance writer and translator in New York. Her dance writing has appeared in the New Yorker, The Nation, Playbill, The Faster Times, DanceView, The Forward, Pointe, and Ballet Review. Her translations, which include Irène Némirovsky’s “The Mirador,” Dino Buzzati’s “Poem Strip,” and Pasolini’s “Stories from the City of God” have been published by FSG, Other Press, and New York Review Books. You can check her updates on Twitter at: @MarinaHarss
★★★★✰ That Sarasota Ballet, a relatively small company, performs Giselle so well is a testimony the dancers’ hard work & Barbieri’s abilities as a stager.
★★★✰✰ This year, the Les Ballets Trockadero de Monte Carlo’s visit could not have been better timed. As a new Covid variant closes in, we all need a little cheering up...
★★★★✰ 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...
★★★★✰ In New York, the holidays are inseparable from the Ailey season and this year, despite everything, has that same celebratory feeling. Marina Harss on new works by Jamar Roberts and Robert Battle.
★★★✰✰ Annie-B Parsons’ play-with-movement is based on Guy de Cointet’s 1982 play Five Sisters, an atmospheric meditation on vapid 1980’s Los Angeles. It also draws, ever-so-delicately, from Chekhov’s play Three Sisters....
★★★★✰ The final applause was as warm as I have ever heard it, tinged with gratitude, for the return of a spectacle at once so grand and so intimate...
★★★✰✰ "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."
★★★✰✰ Featuring Alexei Ratmansky's 'Fandango', Justin Peck's 'Bloom' and Ayodele Casel's 'Where We Dwell'...
★★★★✰ I caught four débuts in the lead roles of Giselle and Albrecht: Skylar Brandt with Herman Cornejo on Oct. 21, Thomas Forster alongside Gillian Murphy on Oct. 22, and both Cassandra Trenary and Calvin Royal III at the Oct. 22 matinee
★★★✰✰ The return of the company’s Giselle is a return to a kind of normalcy, even if the performance itself contained reminders that this time is anything but normal.
★★★✰✰ There really is no audience like a Fall for Dance audience: buzzing, generous, excitable, and happy just to be there.
★★★★✰ 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.
★★★✰✰ Teicher has put together a spiffing ensemble of swing dancers, each of whom dances in his or her own style, for a show that displays the energy, musicality, generosity, and fluidity of the genre.
★★★✰✰ The Fall Fashion Gala has become a staple at New York City Ballet, a siren song to the well-heeled, who show up in their fineries year after year. It’s also a big money-maker...
★★★✰✰ Mark Morris Dance Group performs at Brooklyn Bridge Park. It's a triple bill including a premiere - Water
★★★✰✰ New York City Ballet’s fall season in New York continues with Opus 19/The Dreamer (Robbins), Russian Seasons (Ratmansky) and Amaria - a new piece for Maria Kowroski, who is about to retire from the company, by Mauro Bigonzetti.
★★★★✰ "Boy is it good to be in the presence of dancers and musicians again." concludes Marina Harss review of New York City Ballet’s fall season opening performance.
★★★★✰ Program 2 features dancers and works from Alvin Ailey American Dance Theater, New York City Ballet, Dance Theatre of Harlem and American Ballet Theatre