Marianne Adams

Six Strings, One Soul

Six Strings, One Soul


“Vuela”
Ballet Flamenco Sara Baras
Flamenco Festival
New York City Center
New York, NY
March 5, 2026


With truly great artists, it is often impossible to pinpoint the precise source of their magic. Is it the way Sara Baras's fingers slow as they curl into floreo – that signature hand flourish of flamenco – the way she fires off rhythms with machine-gun precision, or the way she suspends motion entirely, lifting her skirt in breathless anticipation before the movement arrives? Whatever it

By Marianne Adams
A Story For Another Time

A Story For Another Time


“Romeo & Juliet Suite”
L.A. Dance Project
Festival: Dance Reflections by Van Cleef & Arpels
Park Avenue Armory
New York, NY
March 2, 2026


You could see what Benjamin Millepied was going for with his version of “Romeo and Juliet.” An immersive, hybrid-medium reimagining of the greatest love story ever told – Sergei Prokofiev’s score abridged, every corner of Park Avenue Armory's Gothic grandeur weaponized, plot trimmed to its central characters and live performance spliced with real-time cinematography beamed

By Marianne Adams
The Company They Keep

New York City Ballet

The Company They Keep


"Dances at a Gathering,” “Diamonds”
New York City Ballet
David H. Koch Theater
New York, NY
February 27, 2026


What a joy it must have been to be alive and a patron of New York City Ballet in the 1960s, the decade when the company premiered Jerome Robbins’s “Dances at a Gathering” and George Balanchine’s “Jewels.”  Now, in 2026, as the company danced both works – the Robbins complete, the Balanchine represented by its final act, "Diamonds" – to

By Marianne Adams
Duende in Chapters

Duende in Chapters


Gala Flamenca
Flamenco Festival
New York City Center
New York, NY
February 26, 2026


The Flamenco Festival opened its 25th year at City Center with a gala featuring four of the dance form's greats – Eva Yerbabuena, Manuel Liñán, El Farru, and the young Juan Tomás de la Molía – painting a story of rich traditions and deep passions over a series of individual vignettes.  Running at over two hours with no intermission, it was a formidable tale poignantly punctuated by

By Marianne Adams
Do You See?

Do You See?


“Ebony Magazine: to a Village,” “Clear As Tear Water,” “Gatekeepers,” “Upside Down”
Ronald K. Brown/EVIDENCE
The Joyce Theater
New York, NY
February 25, 2026


Program A of Ronald K. Brown/EVIDENCE's weeklong run at The Joyce Theater was, at its heart, a celebration – of collaboration, of community, and of Wunmi Olaiya (who goes by Wunmi), the London-born, Lagos-raised musician and designer whose music, costumes, and creative vision have been woven into the EVIDENCE aesthetic for decades. The evening honored

By Marianne Adams
Depth of Field

Depth of Field


“BIPED,” “Mycelium”
Lyon Opera Ballet
Festival: Dance Reflections by Van Cleef & Arpels
New York City Center
New York, NY
February 21, 2026


In a three-night engagement at New York City Center, Lyon Opera Ballet presented two substantially contrasting works that nonetheless formed an unexpectedly coherent program: Merce Cunningham's landmark "BIPED" paired with Christos Papadopoulos's "Mycelium" – works opposite in structure, atmosphere, and era, yet united by a shared exposition of what happens to the human body when it is asked

By Marianne Adams
A New Beauty Awakens

New York City Ballet

A New Beauty Awakens


"The Sleeping Beauty”
New York City Ballet
David H. Koch Theater
New York, NY
February 19, 2026


In a two-week run of Peter Martins’s staging of “The Sleeping Beauty,” New York City Ballet saved the best debut cast for last. The beauty of this “Beauty” was in the nuance, and Emma Von Enck as Aurora and Dominika Afanasenkov as the Lilac Fairy gave transcendent, intentional performances, while David Gabriel was a gallant and hopeful Prince. Meaghan Dutton-O'Hara's first outing

By Marianne Adams
Step Sequined

Step Sequined


Trinity Irish Dance Company
The Joyce Theater
New York, NY
February 17, 2026


The Riverdance phenomenon may have faded from public consciousness, but Trinity Irish Dance Company wasted no time at The Joyce Theater in proving that Irish dancing is not only alive and well — it is more of the present moment than ever. In a program of nine works including two world and one New York premiere, the company tapped, twisted, and slapped infectious rhythms with an energy that

By Marianne Adams
Winners and Losers

New York City Ballet

Winners and Losers


"Dig the Say," "This Bitter Earth," "The Naked King," “Everywhere We Go"
New York City Ballet
David H. Koch Theater
New York, NY
February 7, 2026 (matinee)


In a program of works by Justin Peck, Christopher Wheeldon, and Alexei Ratmansky, New York City Ballet displayed the choreographic bedrock of the company’s current, post-Balanchine era. Fiercely technical, with a focus on musicality and sometimes drama, the direction is a formidable one when executed well. With Ratmansky’s new ballet “The

By Marianne Adams
Fresh Takes

New York City Ballet

Fresh Takes


"Walpurgisnacht Ballet," "Flower Festival in Genzano Pas de Deux," "The Wind-Up," "Opus 19/The Dreamer"
New York City Ballet
David H. Koch Theater
New York, NY
January 30, 2026


On a night abundant with debuts, including an all-new second cast for Justin Peck’s “The Wind-Up” which premiered a day earlier, the real revelations came from the repertory. While Peck's latest work stumbled through familiar choreographic territory, the dancers once again proved that a company’s greatest asset is

By Marianne Adams
All That Worth Protecting

All That Worth Protecting


“When the Water Breaks,” “Monarcas,” “Floes,” “Symbiotic Twins,” “Network,” “After the Rain,” “Asylum,” “Moss Anthology: Variation #5b (2025)”
vildwerk.
New York Live Arts
New York, NY
December 17, 2025


Dance lovers are drawn to dance because of its inherent beauty: visual, musical, and in story ballets, narrative. And it’s no coincidence. Humans are creatures captivated by beauty, whether born of nature or shaped by human effort. And so, when vildwerk., a three-year-old nonprofit with an urgent mission, married an

By Marianne Adams
Complexions: Gorgeous, Stalled

Complexions: Gorgeous, Stalled


“Beethoven Concerto,” “Deeply,” “I Got U,” “Love Rocks”
Complexions Contemporary Ballet
The Joyce Theater
New York, NY
November 25, 2025


Founded in 1994, Complexions Contemporary Ballet’s endurance is to be applauded, and its two-week run at The Joyce Theater is testament to the weight of commitment.  The company bills itself as an innovator, yet Program B, which I saw on this night, revealed that steadfast dedication to creation was more of its forte than innovation itself.  Two

By Marianne Adams