★★★★✰ 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.
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
★★★★✰ 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.
★★★★✰ It’s not often that one gets to see three such companies side by side, or to experience a work as familiar as Jewels with new eyes...
★★✰✰✰ There are dances that one figures out in the first five minutes. Hope as one might that the piece will evolve or turn a corner, it soldiers on in the same vein, section after section, until the end.
★★★✰✰ Ratmansky’s Souvenir d’un Lieu Cher turned out to be a mysterious little ballet, a double pas de deux that captures, ...the complex history of a quartet of characters.
Passing it On: Wendy Whelan Stages her first ballet, Alexei Ratmansky's Pictures at an Exhibition, for Pacific Northwest Ballet.
★★★✰✰ It is the melodrama that people remember and are drawn to in Onegin. But his kind of melodrama isn’t everyone’s cup of tea...
★★★✰✰ I often get the feeling that the Ailey dancers transcend the choreography they’re asked to dance. With the exception of the inescapable Revelations, the company’s repertory can be hit or miss.
★★★★✰ 2 casts reviewed Isabella Boylston / Alban Lendorf and Devon Teuscher / Aléxandre Hammoudi.
★★★✰✰ Vicky Shick’s dances are a little bit like silent family movies, a series of scenes from a life, edited together in no apparent order.
★★★★✰ New York City Ballet’s seemingly endless stream of new talent has a source, and that source is the School of American Ballet...