It is even more disappointing that the troupe should open its run with a Swan Lake so lackluster... It’s not the dancers’ fault. At every level, the Bolshoi dancers move with thrilling force and fullness.
Tag - New York
...I think it’s safe to say that she is an artist who follows her obsessions with a tenacity that is both admirable and frequently defeating.
Watching Rosas danst Rosas this weekend it was easy to understand why it still stands as a prime example of De Keersmaeker’s choreographic approach.
Reich's score is, of course, a constant pulse. De Keersmaeker provides no rest for the senses. She matches Reich in density and motion. It is mimicry of the highest order.
The three dancers who took their leave this week – Sascha Radetsky, Yuriko Kajiya and Jared Matthews – are all soloists. Each led a different cast of the company’s 1997 production of Coppélia.
Who but Frederick Ashton could turn a marital spat into one of the most delightful, touching works in the ballet repertoire? His 1964 The Dream is precisely that...
...the dancers seem able to handle whatever comes their way. It’s a quality that will serve them well in their travels.
American Ballet Theatre’s Swan Lake is looking tired ...bogged down by reams of flavorless dancing.
In the end, the real pleasure of the evening is watching two extraordinary showmen...
Like the best comedians, Ekman is as facetious as he is profound, leaving the viewer with plenty to ponder post-performance.
Few nineteenth-century story ballets are as satisfying as Giselle, with its simple and poetic plot, compact structure and starkly contrasting moods. This week I watched four Giselles, with four distinctly different casts...
Since becoming artistic director at Alvin Ailey American Dance Theater in 2011, Robert Battle has been steadily mixing up the company’s repertory, adding works by choreographers beyond its usual range: Paul Taylor, Ohad Naharin, and Wayne McGregor, to name just three.
To fully enjoy Ashton, one has to be willing to acquiesce to one’s own softer impulses, a sense of wonder and perhaps a little nostalgia, and to surrender the loveliness of small things.
To close its 50th anniversary season Boston Ballet mounted a splendid production of Balanchine’s 1967 masterpiece Jewels.
Justin Peck has gone from unknown corps-member to choreographer-of-the-moment in a blink of an eye. (He created his first piece for the company in 2012; this is his sixth.)
In New York we are lucky to see quite a bit of Indian classical dance. The local crowd has developed a taste for it, and thus has been spoiled with some memorable performances...
Opening night of New York City Ballet’s spring season wasn’t a gala, but there was a festive buzz in the theatre nonetheless. The ballets were all by living choreographers; the oldest dated from 1988, half were of more recent vintage.
The task Johnson faces is complicated, full of potential pit-falls. In these early seasons she is working to define the company’s character, while helping the dancers to hone their classical training and shine as individuals.
Two young NYCB choreographers have been out talking and showing what they do: Justin Peck at the Guggenheim and Troy Schumacher at the 92nd Street Y. Marina Harss on why they are so worth tracking...
Twyla Tharp loves Americana. She’s made dances to Shaker hymns and to the crooning voice of Frank Sinatra, and whipped up steps to the super-sophisticated piano tunes of Willie “The Lion” Smith. So it’s no surprise...