There’s something almost too private about the way these dancers handle each other. Weare’s natural habitat is the duet, which in many cases has the flavor of a mortal combat.
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
If Harlequinade is somewhat less than the sum of its parts, Square Dance (1957), which preceded it on the program, never fails to lift the heart.
'Rōdē,ō: Four Dance Episodes premiere: It turns out that this combination of male vigor, Copland, and Peck is a felicitous one.
More from the NYCB Winter Season with Marina Harss reviewing 2 bills made up of 6 works: Concerto Barocco, The Goldberg Variations, Symphonic Dances, The Cage, Andantino and Cortege Hongrois...
Too much Chopin? Perhaps.
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.
...the Ukrainian-born soloist Anastasia Matvienko was a pliant, loose-limbed Cinderella who danced with uninhibited ease and looked perfectly at home in Ratmansky’s goofy interpretation of the character.
In an inspired collaboration with the World Music Institute, the Metropolitan presented two dancers from the southern-Indian ensemble Nrityagram, Surupa Sen and Bijayiny Satpathy, at the Temple of Dendur on Saturday.
The ballet radiates warmth, but also an awareness of death....
Year after year, I see Balanchine’s Nutcracker, and year after year I marvel at its perfection. This year it turns sixty.
When music, words and movement are combined, our minds are pulled in different directions.
Following 3 years directing Royal New Zealand Ballet, Ethan Stiefel is now back in New York - which is where Marina Harss caught up with him...
The idea behind the triptych is to show three aspects of the company’s style: the classicism and character dance of Petipa; the technical pizzazz of mid-twentieth-century Soviet dance, the eccentricities and atmospherics of contemporary movement...
But, for the ballet to work it has to be danced with conviction and joy, and this is what the Mikhailovsky pulls off marvelously well.
Osipova’s vitality is astonishing: the minute she stepped onstage, it’s as if the whole world became a few shades brighter...
Troy Schumacher's BalletCollective company is a work in progress and unusually has a resident writer, Cynthia Zarin. Marina Harss, at New York's Skirball Center, sees where they are all at...
Critics have compared the new Liam Scarlett to Jerome Robbins’ Dances at a Gathering; if so, it’s as if Dances had been set in an unhappy corner of the planet, for a group of lost souls...
"It was a hell of a performance." Marina Harss on Jerome Robbins’ Fancy Free.
Liam Scarlett's "With a Chance of Rain" premiere - It seemed Marcelo Gomes and Hee Seo might never detach from each other in the final pas de deux...
Puppeteer Basil Twist is pushing boundaries again in New York as part of the White Light Festival, with a triple bill based on Stravinsky...





