★★★★★ As artistic director of her own troupe, Farrell was able to take her devotion to Balanchine and her aspiration to promote and preserve his legacy to a new level. For nearly 20 years, Washington audiences have enjoyed an annual mini-festival of Balanchine’s works...
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★★✰✰✰ Reviewing a youth dance company is always a tricky thing. These are not professional dancers although everything else about the production is a professional show.
★★★✰✰ Myles Thatcher is an inventive young talent...
★★✰✰✰ I begin this notice with a codicil. Let this preamble show my unbounded admiration for the spirit and rationale of Project Polunin.
Year after year, I see Balanchine’s Nutcracker, and year after year I marvel at its perfection. This year it turns sixty.
Half the pleasure of watching Sacred Monsters on this, its final tour, is of course enjoying the penultimate opportunity to watch the ultimate ballerina of our age take the stage.
I've never been to Dance Proms at the Royal Albert Hall before. Which is amazing given it has a cast of over 400 dancers, has been running since 2011 and, as I discovered, is such an uplifting and feel-good affair.
JLD is a relatively young troupe, but it consists of nine experienced and established dancers, some of them well-known and admired in Washington. Take for example, Clifton Brown...
I’m clearly not cut out for naturism.
I was not surprised to discover that Farruquito was voted one of the world’s great beauties by People magazine since I spent much of this show wondering if he had a talking mirror in his dressing room...
...Webre saves the best for last. ...watching the bare-knuckle boxing brawl in the end of the ballet, instigated by the disgruntled Robert Cohn, is worth the price of admission alone.
The revitalizing impact of Balanchine’s choreography on Tchaikovsky’s music was particularly evident in the all-Tchaikovsky, all-Balanchine program presented by New York City Ballet at the Kennedy Center Opera House during the last week of March.
To preserve or to progress? And if the latter, how? These questions seem to come up increasingly often as companies grapple with the death of their founding choreographers, artists who created importantant schools of dance in their own image.