No-one will ever accuse the American-born choreographer William Forsythe, based in Germany since the seventies, of taking the easy way – to the contrary, he is a master of complexity.
Author - Marina Harss
Dance Heginbotham premieres a new full evening work, Dark Theater, later this month at the Brooklyn Academy of Music - Marina Harss talks to choreographer John Heginbotham about his latest work...
My father asked my original teacher in Rockville, Ms. Hood, whether it was viable for me to become a dancer, and she said she thought I could, even though I wasn’t blessed with beautiful legs and feet. But I had a lot of other assets...
One feels as Débussy did when he wrote, at the end of the nineteenth century, that “amid too many silly ballets, Lalo’s Namouna is something of a masterpiece.”
An interview with Michaela DePrince ex Dance Theatre of Harlem and now with the Junior Company of Dutch National Ballet. Marina Harss talks to her about life and motivations and, inevitably, about DePrince often being a different colour to most other dancers on ballet stages and the issues around that...
Jeu de Cartes, by Peter Martins, is jaunty and busy, a cross between the pas de deux in Balanchine’s Rubies, the trios in Danses Concertantes, and the non-stop action of Martins’ Fearful Symmetries....
What most struck me on this particular evening was the transparency, and clarity of intention, that marked each work.
Amid all the fuss about the costumes, the choreogaphy paled... What a joy, then, to see a section of Western Symphony, with those marvelous frou-frou tutus by Karinska and that euphoric outpouring of Balanchine’s’ crisp, witty steps.
The Contortions of Contemporary Ballet, Put to Use... for a while.
Wherever Virginia Johnson goes, she seems to travel on a cloud, with a kind of regal composure few possess in our day. She appears imperturbable...
The Ballet v6.0 Festival has just been on at New York's Joyce Theater and Marina Harss was there for. So where are young choreographers taking contemporary ballet...?
Do you perceive a difference between the musicality of American dancers and that of Russian dancers? AR: There is a huge difference in the musicality. I often found Russian dancers unmusical... But they have other qualities...
After twenty-six years in Miami, Edward Villella is back in New York, just across the East River from his old stomping grounds in Bayside Queens. He was an unlikely danseur, a scrappy kid...
...what joy to see a performance turn into a kind of rave, ...to feel the music overflow the boundaries of convention and habit and feel, well, intensely alive.
Like a Fabergé egg with a tiny golden bird inside, Sylvia is decadent, a bit indulgent, but delightful.
The previous night had been dominated by Gillian Murphy’s performance. She is an absolute powerhouse in this role, a kind of super-stylized, inhuman creature, an art-deco distillation of speed and daring.
American Ballet Theatre are dancing Kenneth MacMillan's Romeo and Juliet. Marina Harss reviews 2 casts: Polina Semionova / David Hallberg and Roberto Bolle / Hee Seo...
The festival elects a guest director each year; Morris is the first choreographer to get the job. The seemingly ubiquitous Morris has now taken to calling the current season “my festival”; he’s only half kidding...
I have to say that after seeing the Shostakovich Trilogy twice, and picking up many more details ...I found it very compelling indeed, especially the opening and closing ballets.
Creases revealed, once again, Just Peck’s ability to create strikingly imaginative patterns and formations onstage.