In many ways, Jewels is Balanchine’s choreographic résumé – a retrospective and a vivid showcase of his aesthetics and creative genius...
Tag - New York
Stravinsky’s is a bitter tale with folk roots, about a soldier (played by the convincingly guileless, agile Tom Pecinka) returning home from the front who is sidetracked by the devil....
Taylor’s dancers continue to move with their particular combination of generosity and tirelessness. They come in different sizes and types, like the rest of us...
If there’s one overriding impression left by Rocío Molina’s intimate evening Afectos it’s the general eschewing of flamenco clichés. Molina does what she likes and is indebted to no-one.
His body is like a cubist deconstruction of the human form, all angles and planes. His fingers and wrists can be as rigid as hammers or as florid as Moorish arabesques.
The choreographer Mark Morris has said that he decided he wanted to become a dancer when, as a kid, he saw a performance by the flamenco powerhouse José Greco.
Watching these three ballets, made over a span of thirty-two years, one can see how Balanchine’s style evolved toward the hyper-stylization of Violin Concerto...
George Balanchine’s favorite composers may have been Stravinsky and Tchaikovsky, but it’s no secret that he also had an affinity for France and its music...
Some dancers leave us wanting more. That’s how Jenifer Ringer’s retirement from New York City Ballet feels; we’ve seen so little of her in recent seasons, and she’s dancing so well.
It’s nice to change one’s mind about a choreographer once in a while. I’ll come clean: for all their craft and lucidity, I’ve generally found Pam Tanowitz’s dances exceedingly dry, like meticulously-put-together exercises.
Acheron, Liam Scarlett's new piece, revealed a choreographer of prodigious imagination and compositional craft, adept at building an atmosphere and suffusing it with traces of meaning.
The company embraces the turn-of-the-20th-century Cecchetti Method, more concerned with anatomic integrity than with razzle-dazzle. Cecchetti’s motto is “purity of line, simplicity of style.” You get the idea.
There is perhaps no better way to start off a season at New York City Ballet than with a performance of Balanchine’s Concerto Barocco.
I have yet to see a less than full-throttle performance, even when a choreographer’s style does not quite fit the company’s technique...
So far this season I’ve seen three “traditional” Nutcrackers: Ratmansky’s version for American Ballet Theatre, Gelsey Kirkland’s, and the familiar and much-loved 1954 staging by George Balanchine for New York City Ballet. All three have their charms...
Novels are treacherous terrain for choreographers. So much of what draws us into a book and imprints itself in our imagination ...is almost impossible to convey in the language of the body.
What made this Peter so right-feeling was that all elements of the show — storytelling, music, stage action — were so well integrated.
If you think about it, Nutcracker lends itself quite naturally to an erotic treatment. Coming of age story, voyage of discovery, fantasy playground filled with tantalizing delights
Like most dances with folk roots, flamenco suffers somewhat from being cooped up in a theatre. It is, at its heart, a participatory and spontaneous art...
L’Allegro, with its painterly tableaux, classical references, and unselfconscious evocations of sex and death, feels both ancient - almost pagan - and perfectly of our time...