★★★★✰ One of the most attractive things about the production is the way it brings together various worlds: ballet, Broadway, and opera.
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
★★★✰✰ Masilo’s is an uncompromising, ritualistic version of the story, with little room for redemption, and in its final scene, in which the spirits amass and advance upon Giselle’s seducer again and again, it tips over into a kind of animistic brutality...
Whiteny PR about the exhibition: "Artist Nick Mauss (b. 1980) presents Transmissions, a multidisciplinary work exploring the relationship between modernist ballet and the avant-garde visual arts in New York from the 1930s through ’50s."
★★★✰✰ All was danced with the quiet focus, lucidity, and unfussy delivery that characterize the company. No attention-grabbing fireworks...
★★★✰✰ Like Walker’s first work for the company "Dance Odyssey" shows a lot of promise. It has warmth and humor, a good grasp of stage geometry and a sensitive musicality.
★★★★✰ Ronald K. Brown is one of those choreographers who returns to a similar mode in piece after piece, so it’s easy to take him for granted. But what a powerful mode it is.
★★★★✰ After much tumult over the holidays, New York City Ballet has begun its first post-Peter Martins season. If you’re just catching up, the company’s “ballet master in chief” – ie artistic director – of over thirty years retired on New Years Day, in the midst of an investigation into allegations of physical abuse and sexual harassment.
Six Performances That Stayed with Me in 2017 - Marina Harss with her personal selection of New York dance memories this last year.
★★★★✰ Roberts’ "Members Don’t Get Weary" is very much a mature work with a strong emotional charge and esthetic signature.
★★★★✰ Gerring's dances may be spare – she doesn’t go in for complicated designs or music – but they certainly don’t feel dry. They teem with energy and life.
★★★★✰ It’s always exciting to discover a new side of an artist. For this, and for an immensely entertaining show, we have to thank Matthew Bourne.
★★★✰✰ What’s different about Schumacher’s dances isn’t so much the end result as the process. He always commissions new music and builds the ballet up from the bottom, with the help of an external source of inspiration.
★★★✰✰ The choreographer and L.A. Dance Project director Benjamin Millepied is a mover and a shaker, a clever curator, a man of taste, a force in the dance world. But is he good choreographer?
★★★✰✰ In between the speeches and the short films came the dancing. The main attraction was the new Ratmansky work, Songs of Bukovina...
★★★✰✰ I caught all four new works: an expanded version of Michelle Dorrance’s Myelination, Kyle Abraham’s Drive, the Sara Mearns and Honji Want collaboration No. 1, and Mark Morris’s solo Twelve of ‘em for David Hallberg.
★★★★✰ The oldest piece on the program is Wheeldon’s Polyphonia. Made in 2001, it has stood the test of time. Just last week it was performed at the Fall for Dance festival...
★★★✰✰ At New York City Ballet, the fall fashion gala has become a showcase for work by young choreographers. Each one is paired up with a fashion designer and voilà, it’s an event.
★★★★✰ Oh, Anne Teresa De Keersmaeker. What other choreographer can so doggedly drive a viewer to the verge of despair and then, almost casually, throw open the doors to ecstasy, all within the span of an hour?
★★✰✰✰ It all sounds terribly promising, and yet the evening falls as flat as a soufflé left in the oven for too long.
★★★✰✰ It’s intriguing to see pas de deux that are clearly conceived from a woman’s point of view.