Within (Labyrinth Within) is no masterpiece, but it presents exciting possibilities for contemporary ballet while avoiding the hyperextended steps and sexual clichés that muddy so much of the field.
Tag - New York
It's always been clear that Millepied is a man of intelligence and taste.
Hubbe - handsome and captivating as ever in tight black jeans and an Errol Flynn mustache - assured the Works and Process audience that the famously elegiac Shades scene has not been tampered with...
Tonight’s premiere of Ratmansky's newest work for American Ballet Theatre, Symphony #9, was cause for celebration. In fact, it left me feeling almost lightheaded, and terribly eager to see it again, as soon as possible.
The highlight of the gala was the seventieth-anniversary performance of Agnes De Mille’s Rodeo, preceded by a short film describing its creation, with archival footage of the hilariously histrionic, diminutive choreographer.
There should be more nights like this at New York City Ballet.
Every Fall For Dance program is a bit of a pot luck, which is part of the festival’s charm. This year it has been expanded to twelve of performances (each costing $15, up from $10 last year)...
Ethan Stiefel formally retired from dancing with ABT this summer, but has been hard at work as Director of RNZB for over a year now. On the eve of company announcements about their 2013 season and the premiere of Giselle, his first commissioned production, Valerie Lawson catches up with him...
I’ve noticed two troubling trends this season at New York City Ballet. Perhaps they are connected. The first is the creeping tendency toward stolid tempi from the pit...
"It’s very lonely out there... I mean, it would be nice to have some sort of mentorship with regard to what it takes to be a choreographer."
This is the third mounting of the work since its première in 1976 at the Avignon Festival, where it quickly became the stuff of legend. What was this strange, endlessly-repetitive, oddly compelling work?
Soledad Barrio makes every moment look improvised. You watch, you wait, and you hold your breath.
What is there to say about Orpheus, except that it seems to slip deeper into the recesses of time? I’ve read that at the première, the critic and poet Edwin Denby was so moved by it that he sat dumbfounded during intermission, unable to stand. It is difficult to imagine such a reaction today.
I saw the first cast led by Jin Yao, the top ballerina in the company. Her acting was superb, and her dancing too had a warm glow throughout.
It’s easy to admire ECLIPSE for its moments of understated beauty, its modesty, its craft, and the quality of the dancing. Why, then, does it ultimately feel so cold and empty?
...Bart's a gifted and discerning artist, with a deep understanding of the Opera's heritage and style. Rather than trying to "recreate" the long-forgotten original choreography by Arthur St. Leon, Bart's made a new work that feels old, as if it had long been a warhorse of the Opera's repertory, subject to over a century of vagaries in taste and technique, yet emerging today all the richer for the...
It is something of a cliché to say it, but the guiding principle of Morris’s Dido - as in the more recent Socrates - is simplicity. No single element - musc, words, dance - is privileged above the others.
...remarkable, offering a two-hour program of five diverse Indian dance styles, showing a balance of narrative and pure dance works, in an exciting mix of solos, duets, and ensemble performances. The quality of the dancing was high.
'Oh, Inverted World' is fun and fresh, and it proves McIntyre - who also leads his own company, the Trey McIntyre Project - to be a choreographer of many talents.
Bausch is a mystery. To some, she represents the summit of poetry and expression, worthy of a cult-like following. Clearly, these dancers derive great emotional sustenance from performing her work. And it suits them. But, with the exception of Gillot’s solo and a few moments here and there, it left me cold.