There are some companies that are always worth seeing just to watch them move: NDT is one of them, and NDT 2 – at the Joyce through Sunday – is no different.
Tag - New York
More from the NYCB Winter Season with Marina Harss reviewing 2 bills made up of 6 works: Concerto Barocco, The Goldberg Variations, Symphonic Dances, The Cage, Andantino and Cortege Hongrois...
In all, this was a tremendously entertaining and well-received program; but at the same time it left an unsettling impression that the Russian company is holding on to its eminent past with all its might, relying heavily on well-worn
Too much Chopin? Perhaps.
In recent seasons New York City Ballet has gotten into the habit of starting things off with a week or two of Balanchine. It’s an excellent idea.
...the Ukrainian-born soloist Anastasia Matvienko was a pliant, loose-limbed Cinderella who danced with uninhibited ease and looked perfectly at home in Ratmansky’s goofy interpretation of the character.
If you really think about it, Swan Lake is, for lack of a better phrase, an odd duck...
To watch Bournonville is to see visages of Marie Taglioni or Carlotta Grisi lifted straight from a lithograph, complete with the sloping shoulders, the torso tipping from the waist and the demure demeanor. As to the men, Bournonville gave them stuff to do,..
In an inspired collaboration with the World Music Institute, the Metropolitan presented two dancers from the southern-Indian ensemble Nrityagram, Surupa Sen and Bijayiny Satpathy, at the Temple of Dendur on Saturday.
Alvin Ailey American Dance Theater is making a big deal out of its premieres this year, but at the company's "All New" program during its City Center residency, Matthew Rushing's Odetta was the standout work.
The ballet radiates warmth, but also an awareness of death....
While the program slumped, mood wise, in the middle, it went out with a bang thanks to Larry Keigwin's Exit Like an Animal.
Year after year, I see Balanchine’s Nutcracker, and year after year I marvel at its perfection. This year it turns sixty.
Although juxtaposed with several new and recently revived productions, Alvin Ailey's Revelations looks just as good now as it did 10, 15, or even 20 years ago, and probably looks just as good as it did at its premiere, way back in 1960.
When music, words and movement are combined, our minds are pulled in different directions.
The idea behind the triptych is to show three aspects of the company’s style: the classicism and character dance of Petipa; the technical pizzazz of mid-twentieth-century Soviet dance, the eccentricities and atmospherics of contemporary movement...
But, for the ballet to work it has to be danced with conviction and joy, and this is what the Mikhailovsky pulls off marvelously well.
Osipova’s vitality is astonishing: the minute she stepped onstage, it’s as if the whole world became a few shades brighter...
Herein lies one of the more unfortunate traits of Kontakthof: there is more madness than dancing...
Troy Schumacher's BalletCollective company is a work in progress and unusually has a resident writer, Cynthia Zarin. Marina Harss, at New York's Skirball Center, sees where they are all at...