The gulf between commercial dance – the kind one sees in TV ads, music videos, and on shows like So You Think You Can Dance – and theatrical dance is disconcerting....
Tag - New York
The triumph of the Nureyev collection at CNCS Moulins is to make the many facets of his profligately talented, maddening personality so vividly alive still.
It’s a powerful piece of theatre, driven by music that expresses the hard-living, drug-fuelled romanticism of the spirits who inhabited the hotel...
On Sunday, American Ballet Theatre’s two-week fall season draws to a close. By most measures, it’s been a success...
ABT's run of Les Sylphides this season are different - after research, the company, under their musical director Ormsby Wilkins, have rediscovered a 1941 orchestration by Benjamin Britten. Marina Harss reveals all in conversation with Wilkins...
Throughout the Bach Partita, Tharp’s movement is technical, precise, and highly articulated. As with Balanchine, the bodies are always distinct, framed in space.
It’s good to see the company perform Sylphides again after a hiatus of eight years. The style hasn’t eroded. ...The dancers believe in it.
A Rite, in the hands of Jones, Bogart, and Wong, is the most startling and insightful version I have seen...
Fashioning a ballet out of The Tempest is no small endeavor. How does one distill Shakespeare’s rather complex play into forty-six wordless minutes....
San Francisco Ballet continued their East Coast season with the New York premiere of Christopher Wheeldon's Cinderella. The staging is lavish...
Houston Ballet made a quick visit to the Joyce in NY last week. Its single program included works by Mark Morris, Ben Stevenson, Hans van Manen and Stanton Welch - Marinna Harss reviews...
For all Bourne’s imagination, his version makes even less sense than the original.
...for all that, the experience of watching En Atendant and Cesena was not an arid one. Instead, the two works managed to build an ascetic aura, like witnessing (or even taking part in) a kind of monastic ritual.
San Francisco Ballet – From Foreign Lands, Beaux, Classical Symphony and Symphonic Dances – New York
In its second mixed bill here in New York, San Francisco Ballet once again impressed with its vitality and the depth of its bench, as well as with its pleasantly unified look.
San Francisco Ballet is in town for two weeks, and on the evidence of opening night, this should be an invigorating visit. The company looks to be in top form.
No-one will ever accuse the American-born choreographer William Forsythe, based in Germany since the seventies, of taking the easy way – to the contrary, he is a master of complexity.
One of the leading innovators of postmodern dance, New York-based choreographer Trisha Brown, has been making work that equally challenges her dancers, her audiences and our underlying assumptions about dance for almost four decades...
My father asked my original teacher in Rockville, Ms. Hood, whether it was viable for me to become a dancer, and she said she thought I could, even though I wasn’t blessed with beautiful legs and feet. But I had a lot of other assets...
One feels as Débussy did when he wrote, at the end of the nineteenth century, that “amid too many silly ballets, Lalo’s Namouna is something of a masterpiece.”
An interview with Michaela DePrince ex Dance Theatre of Harlem and now with the Junior Company of Dutch National Ballet. Marina Harss talks to her about life and motivations and, inevitably, about DePrince often being a different colour to most other dancers on ballet stages and the issues around that...