★★★★✰ Jamar Roberts' Ode was the centerpiece and the highlight of the company’s performance, which also included Aszure Barton’s Busk (a company premiere) and Darrell Grand Moultrie’s Ounce of Faith (a premiere).
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
★★★★✰ Some have called Dormeshia the greatest tapper of her generation. I’m wary of such titles, but what I can say is that she is a dancer of enormous sophistication, finesse, variety, and subtlety.
★★★★✰ This is a Giselle that is both familiar and new. Watching it on opening night was like seeing a faded painting regain its colors.
★★★★✰ This season, as part of the 75th anniversary of Appalachian Spring, Martha Graham Dance Company invited Troy Schumacher to create a new piece to be danced alongside the iconic work...
★★★★★ What this Bacchae resembles most is a kind of carnaval, an ordered mayhem in which up is down, all inhibitions are shed, and madness reigns.
★★★✰✰ The pairing of prestigious participants does not always guarantee success – a lesson learned again and again in the theater.
★★★✰✰ The emphasis here was on new. This was a night to check in on the creative efforts of two emerging voices on the ballet scene - Gemma Bond and James Whiteside.
★★★★✰ In programs like this one, ABT really looks like an American company, steeped in American popular music and the relaxed attitude of popular dance. It’s a mode that suits the company well.
★★★★✰ The fewer the speeches, the better the gala – this universal truth seems to have bypassed the organizers at American Ballet Theatre...
★★★★✰ On the penultimate day of the fall season, I managed to catch a performance of New York City Ballet’s revival of Merce Cunningham’s Summerspace. The 1958 piece, which had its City Ballet premiere in 1966, was last performed here in 2000.
★★★✰✰ The fascination with ballet is strong in Forsythe. After years of creating a form of dance theater in Germany, he has returned to his classical roots with a renewed energy.
★★★★✰ Everything in Shivalingappa’s style emphasizes clarity, shape, and intention. ... a very satisfying evening of dance.
★★★✰✰ Robbins’ response to Chopin (in Dances at a Gathering) is also extraordinary: sensitive, simple, vulnerable, direct, un-fussy.
★★★✰✰ Kudos to Lovette for really going out on a limb... The Shaded Line feels truly her own, and it’s clear that she has much to say about her chosen profession...
★★★★✰ It makes a noticeable difference when Litton, music director of the company, is in the pit; the orchestra has presence and sings, providing a convincing counterpart for the dancing.
★★★✰✰ Program A consisted of a string of solos and duets representing a slice of the company’s choreographic trajectory, from Frederick Ashton through Kenneth MacMillan to Liam Scarlett, Wayne McGregor, and Charlotte Edmonds.
★★★★★ I’ve never seen a more vivid performer; her large eyes seem to touch each person in the audience...
★★★★✰ You can tell the Danes are in town by the fact that the Joyce Theater has been packed night after night this week.
★★★★✰ Mark Morris Dance Group are currently at the Lincoln Center's Mostly Mozart Festival performing a triple bill coupling a new work, "Sport", to the much admired "Empire Garden" and "V".
★★★★✰ This production proposes that Sleeping Beauty is not really the story of a love quest – as it’s often depicted – but rather a fable about order and disorder, harmony and disharmony, the balance between good and evil.