Marianne Adams

“Chroma,” “Suspended Women,” “Revelations”
Alvin Ailey American Dance Theater
New York City Center
New York, NY
December 12, 2014

Alvin Ailey American Dance Theater’s premiere of Jacqulyn Buglisi’s 2000 work “Suspended Women,” carefully wedged between the no longer new for the company “Chroma” and the classic “Revelations,” offered a moving glimpse of the atemporal elements of the female experience, and the evening’s program as a whole provided a perspective on the company’s artistic dimension.

Buglisi’s

“Castles,” “Fabulist,” “Dome”
Doug Varone and Dancers
The Joyce Theater
New York, NY
December 2, 2014

The three works presented by Doug Varone and Dancers at the Joyce Theater each told a different type of story. The 2004 “Castles” opened the night with formations and disintegrations laced with narratives resembling and inspired by fairy tales, the New York premiere of “Fabulist,” a somewhat autobiographical solo performed by the choreographer himself, was a deeply moving storyteller’s monologue, and the world

“Flames of Paris”
Mikhailovsky Ballet
David H. Koch Theater
New York, NY
November 16, 2014 (matinee)

How could you make Stalin’s favorite revolution-themed ballet a success in 2014? A faithful reconstruction would hardly seem like the right strategy, yet that is precisely what Mikhail Messerer, Mikhailovsky Ballet’s Ballet Master in Chief, did in staging his revival of Vasily Vaynonen’s classic “Flames of Paris.” The approach turned out to be worth the risk, earning the ballet two nominations

"Kindertotenlieder”
Gisèle Vienne and artists
New York Live Arts
New York, NY
October 29, 2014

Contrary to its title, Gisèle Vienne’s “Kindertotenlieder” does not mourn the death of children, nor does it use any of Gustav Mahler’s famous songs from the opus of the same name. Instead, it taps into something deeper and darker, presenting nearly every instantiation of the violent and disturbing triggers of human anxiety, through a creative integration of movement with music, sound, speech, and

"Torrent,” “Ostinato,” “Closer,” “Students of the Asphalt Jungle”
Brian Brooks Moving Company with Juilliard Dance, The Australian Ballet, BJM- Les Ballets Jazz de Montréal, Rennie Harris Puremovement
Fall For Dance Festival
New York City Center
New York, NY
October 17, 2014

Fall For Dance festival’s fourth program was full of expressions that belie outward appearances. The two middle works, set to gentle, repeating live piano music of Bill Evans and Philip Glass respectively, were rich with content that was

“Swan Lake”
Bolshoi Ballet
David H. Koch Theater
New York, NY
July 18, 2014

Just what kind of woman does Prince Siegfried fantasize about?  The question is at the core of Yuri Grigorovich’s version of “Swan Lake,” and the answer will vary with every cast.

By shifting the focus of the story away from the romantic fairy tale narrative, Grigorovich invites a philosophical inquiry centered on Siegfried’s psyche: What is his ideal woman like?  How does

“Spartacus”
Bolshoi Ballet
David H. Koch Theater
New York, NY
July 25, 2014

As a powerful, masculine and very adult ballet, Yuri Grigorovich’s Soviet-era choreographic chef d’oeuvre, “Spartacus,” is not what you are used to. From the moment the Bolshoi dancers first appeared as the charging Roman soldiers accompanied by Aram Khachaturyan’s commanding score, you were transported into a colorful presentation of a historical tale and a world dominated by a fervent fight for freedom and power.

“Manon”
American Ballet Theatre
Metropolitan Opera House
New York, NY
June 7, 2014 (matinee)

From scandal in Paris to tragedy in a Louisiana swamp is a long way to go in a span of two hours, but Diana Vishneva and Marcelo Gomes made the journey seem realistic. Vishneva, celebrated her tenth anniversary with ABT at this performance, and took the opportunity to demonstrate her range, looking like a different woman in each of the three acts.

As the convent-bound Manon

“La Bayadère”
American Ballet Theatre
Metropolitan Opera House
New York, NY
May 28, 2014

Bolshoi Ballet’s latest rising star – Olga Smirnova – appeared as a guest in only one performance during American Ballet Theatre’s run at the Met, but in the three acts of “La Bayadère” she made a bigger statement than most dancers do in a season. The Nikiya she danced was her Bolshoi Nikiya in style and interpretation, and this portrayal contrasted from the rest of the

“Snow White”
Ballet Preljocaj
David H. Koch Theater
New York, NY
April 25, 2014

Snow White’s hair wasn’t the only thing black as night in Angelin Preljocaj’s balletic take on Brothers Grimm’s fairy tale. – The entire ballet, from set design to the story, was cast in darkness.  The stark departure from the colorful and cute Walt Disney version was intentional, but paradoxically, by removing all things Disney and kid-friendly, Preljocaj made this “Snow White” more

“LAC (after Swan Lake)”
Les Ballets de Monte-Carlo
New York City Center
New York, NY
March 14, 2014

Reinterpreting a beloved classic is risky business, and in the case of “Swan Lake” akin to a tightrope walk over a yawning chasm. The few examples that got all the way across distanced themselves from the original with enough creative merit to minimize comparison. Les Ballets de Monte-Carlo’s “LAC” sought to follow suit. Choreographed by Jean-Christophe Maillot in 2011 to Tchaikovsky’

“Bal de Couture,” “DGV: Danse à Grande Vitesse,” “The Four Seasons”
New York City Ballet
David H. Koch Theater
New York, NY
February 28, 2014

New York City Ballet’s “Scenic Delights” program was a best-of-three wager – and managed to pay off.  After the uncomfortable presentation of Peter Martins’ “Bal de Couture,” the next two works were winners that delighted in both content and execution.

But if two out of three sufficed for the program as a whole, it