Tchaikovsky’s Nutcracker... has been described as a “symphony of childhood”; it is that, and more.
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
Every fall, just after Thanksgiving, Alvin Ailey American Dance Theater sets up shop at City Center, as sure a sign of the season as Christmas carols at the grocery store.
What constitutes an African dance? What meaning lies behind the steps? Souleymane Badolo, born and trained in Burkina Faso and a resident of Brooklyn since 2009, has been exploring this question for years...
Peña’s show, which came to the The Town Hall for a single performance, uses an extremely spare model – flamenco performance as family gathering.
...one can’t help but admire the torrent of ideas bouncing around Tharp’s brain...
Troy Schumacher, a dancer at New York City Ballet as well as a choreographer and founder of the chamber dance company Ballet Collective, is a determined soul...
The central conceit is unchanged; Byrd riffs on the format of the minstrel show, a revue-style entertainment that predated vaudeville and included dancing, low comedy, variety acts. White actors performed in blackface, creating broad parodies of what they perceived as African American archetypes...
Like her recent "Cesena and En Atendant", "Partita 2" is very much about the experience of listening.
...mostly the ballet (AfterEffect) is an enthusiastic love letter from Gomes to his company, and was received as such by the enthusiastic audience at the Koch...
Without a doubt, the most eccentric piece on the program is Gabrielle Lamb’s I Am a Woman: Moult, originally commissioned as part of an evening of works by women choreographers. (A noble cause.) ...
A highlight of the season is the return of Kurt Jooss’s The Green Table, made in 1932. This meditation on the folly of war in eight scenes has lost none of its punch...
...a perfect example of what can happen when an exceptional practitioner is led astray by an excess of theatrical ideas and special effects.
ABT galas are more laid-back than City Ballet’s; they’re less “produced,” with fewer speeches or slick video presentations. For the most part, the company just gets on with the show, with minimum fuss.
Heginbotham has a knack for choosing just the right music for his dances, none of it hackneyed or used solely for its atmospheric qualities: no Arvo Pärt, no Philip Glass...
Jeux, has a distinctly adult atmosphere and a highly cinematic look. Actually, the look might be the most interesting thing about it...
Ramaswamy is a natural allegro dancer; she’s high-spirited, warm, vivacious. But, at least tonight, she didn’t seem inclined to delve into the contrasting qualities of languor or sensual ardor
A great Liebeslieder is like a short story, a complete world in fifty minutes of dancing; this Liebeslieder is still a work in progress.
For twelve years, the Fall for Dance festival has been going strong, and one can see why. No other dance series offer such an expansive, egalitarian and uncomplicated glimpse of what’s going on in dance...
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...
The Japan Society consistently offers up some of the most eye-opening, refined evenings of music and dance in New York. One senses a real care in the curation...





