Smythe’s Harlem was a riot of imagination, movement and color. The choreography blended together three seemingly unmixable styles of dance – classical ballet, jookin’ and flamenco...
Tag - School of American Ballet
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.”
After twenty-six years in Miami, Edward Villella is back in New York, just across the East River from his old stomping grounds in Bayside Queens. He was an unlikely danseur, a scrappy kid...
But 'A Place for Us' (new Wheeldon) feels like a bauble, not quite a jewel.
So how long does he see himself staying on the far side of America? “Well, I am just about to sign another six year contract,” he grinned...
Teresa Reichlen - known as Tess by friends and colleagues - is an immediately striking dancer: tall, pale, preternaturally serene. She could be a Madonna in a painting by Botticelli.
In New York one can begin to feel proprietary about Balanchine, to form the illusion that his choreography is a local specialty, the province of a select group of dancers, all of them employees of New York City Ballet. But this is mere local pride.
Sara Mearns has been New York City Ballet’s reigning Swan Queen since her breakout performance in 2006, when she was only nineteen years old and a member the corps de ballet. It was a performance of surprising intensity, edged with danger.
An in-depth interview with the lady who helps bring Balanchine back...
Dance is a difficult thing to experience outside of the theatre, but for the sustainability of the artform it has to find a way to make itself more widely available.
On the eve of the Clive Barnes Foundation announcing its annual awards we interview Valerie Taylor-Barnes, the great critics widow, about her life in dance (including the Royal Ballet) and the work of the Foundation...
When something is beautifully made it never gets old. So it is with Balanchine’s Nutcracker, first performed by New York City Ballet in 1954 and honed to near-perfection over the years.
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...
The highlight of the program was the seldom-performed Divertimento from “Le Baiser de la Fée”. It is a deceptively shadowy work, a fairy tale in the guise of a conventional divertissement.
"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."
Nicolas Le Riche was fabulously predatory in Bolero, a raging furnace of self-love and sex appeal. One imagines that after the show he must have ravaged a hundred virgins, but maybe he simply went home and soaked his feet in the tub, but in any case, he was magnificent, good taste (and choreography) be damned.