Jeux, has a distinctly adult atmosphere and a highly cinematic look. Actually, the look might be the most interesting thing about it...
Tag - David H. Koch Theater
A great Liebeslieder is like a short story, a complete world in fifty minutes of dancing; this Liebeslieder is still a work in progress.
Nobody surpasses New York City Ballet in sleekness and urbanity. The company is like a glistening skyscraper: sharp-edged, diamantine and, sometimes, a little cold...
Martins' Swan Lake tries to be too many things to too many people.
The National Ballet of China dancers are beautifully trained, surprisingly tall, willowy – even the men – and delicately featured.
These are dancers worth following in a wide repertory of works; it’s a shame to see them go while feeling we’ve barely gotten to know them better.
After an absence of eleven years, the Royal Ballet has finally returned to New York; they’re currently presenting two programs at the Koch Theatre,..
Battle (in No Longer Silent) responds with a brilliant visualization of the music’s intricate parts, a kind of neo-Rite of Spring for our time.
Harris’s Exodus, on the other hand, felt just right. Like so many pieces in the Ailey repertory, it suggests a spiritual quest, a journey toward the light...
George Balanchine’s Midsummer Night’s Dream is really two ballets, layered one upon the other.
In her début as the Sylph, Lovette was warm, soft, enticing, more child-like than enigmatic.
After a week of modernist works by Balanchine set mostly to Stravinsky, Hindemith, Webern, there’s no denying that a night of French music falls sweetly on the ear.
At first glance, it’s hard to think of two choreographers more unalike than August Bournonville and Balanchine...
There were three débuts at New York City Ballet last night: Zachary Catazaro in Apollo, Russell Janzen in Duo Concertant, and Lauren King in the role I think of as the "jumping girl" in Symphony in Three Movements.
The New York City Ballet spring season is off to the races with a week devoted to George Balanchine, specifically the “black-and-white” ballets that for many have come to define his style.
The Paul Taylor Dance Company, rechristened Paul Taylor’s American Modern Dance, is in the midst of its yearly three-week New York run at the Koch Theater. This is a pivotal time for the company...
The most obvious, and pleasurable aspect of New York City Ballet's mixed bill Hear the Dance: America is its juxtaposition of two very different works by Jerome Robbins.
If Harlequinade is somewhat less than the sum of its parts, Square Dance (1957), which preceded it on the program, never fails to lift the heart.
The balcony pas de deux, what all the paramours have come to see, is decent. There are the sweeping, leg splitting lifts, drippy back drapes (so much so that Hyltin at times looks dead), and romantic clutches in abundance.
'Rōdē,ō: Four Dance Episodes premiere: It turns out that this combination of male vigor, Copland, and Peck is a felicitous one.