"Jewels"
New York City Ballet
New York State Theater
New York, NY
January 11, 2008
Each jewel on Friday night had a new facet, some glowing more than others. “Emeralds” saw Abi Stafford’s debut in the Mimi Paul role, a somewhat unexpected piece of casting, since she is a compact and rather un-lyrical dancer. She may improve with experience, but so far, she seemed to concentrate on the steps, with some rather deliberate arms (which while there
“Jewels
New York City Ballet
New York State Theater
New York, NY
January 2, 2008
The evergreen Nutcracker was finally put to rest for another year, as NYCB opened the dance part of the Winter season with the even more evergreen Jewels. Green is the operative work for “Emeralds”, in the redesign (or re-redesign) by Peter Harvey; the slightly oppressive mass of green with its strings of gaudy baubles gives the impression that the miraculous choreography
Riedel Dance Theater
A Journey of Redemption
“Inferno”, “Out of the Silent Planet”, and “The Four Loves”
Joyce Soho
New York, NY
December 13, 2007
Jonathan Riedel, who danced with the Limón Company from 1996-2006, has set up his own company with some very fine dancers affiliated with Limón, Bill T. Jones, and other companies. His earlier choreography, danced both by Limón, and his own small group, was notable for its interest in characterization, mordant humor, and an unusual interest
New York City Ballet
“The Nutcracker”
New York State Theater
New York, NY
December 11, 2007
Fortunately, there is nothing new to report about the NYCB production of “The Nutcracker”. It continues weaving its magic, unexaggerated and unchanged, its glorious details intact. The first act is full of bright activity, the children are well-rehearsed, and the adults generously stay out of the spotlight. It is a true ensemble work, but there were some standouts. In the
“Ballo della Regina”, “The Leaves are Fading”, “From Here on Out”
American Ballet Theatre
City Center
New York, NY
October 26, 2007
Effervescent, frivolous charm is a rare commodity in any art, and the most successful attempts tend to be underrated, since part of their success is the lighthearted ease they must present. Balanchine’s "Ballo della Regina" is usually viewed as a female dancer’s technical tour de force, which of course it is. But
“Ballo della Regina”, “Clear pas de deux”, “The Leaves are Fading pas de deux”, “Don Quixote pas de deux”, “Fancy Free”
American Ballet Theatre
New York City Center
New York, New York
October 23, 2007
The very brief gala program opened with the first performance by ABT of Balanchine’s sparkling exploration of female allegro, Ballo della Regina. It was staged by its originator Merrill Ashley, who got a curtain call and her own bouquet of flowers, in addition
Kyra Nichols’ Farewell
"Serenade," “Robert Schumann’s ‘Davidsbündlertänze'”, and 'Der Rosenkvalier' from "Vienna Waltzes"
New York City Ballet
New York State Theater,
New York, NY
June 22, 2007
Ballet dancers tend to live in people’s memories through the roles they create, the roles that are permanently linked to their careers. A dancer like Carlotta Grisi lives whenever "Giselle" is performed, and dancers whose lives intersect with great choreographers tend to survive in people’s memories
“The Sleeping Beauty”
American Ballet Theatre
Metropolitan Opera House
New York, NY
June 1, 2007
Other than the dancing, there’s very little beauty in American Ballet Theatre’s new “Sleeping Beauty.” The words “additional choreography by…” added to any Petipa ballet have always struck fear into a balletgoer’s heart, but a new fear has been added — the word “dramaturge”. The Sleeping Beautyhas always been the tightest and most coherent of classical ballets. Conceived
“Symphonie Concertante”, “Drink To Me Only With Thine Eyes”, “Rodeo”
American Ballet Theatre
City Center
New York, NY
October 21, 2006, Matinee
This family-friendly triple bill was a big hit with the many youngsters in the audience, who ooed and awed and laughed at all the right times. And to ABT’s great credit, there was no shortage of fine dancers performing at the top of their game.
“Symphonie Concertante” is early Balanchine, and has many echoes of more familiar
“Sylvia”
San Francisco Ballet
Lincoln Center Festival
LaGuardia Concert Hall
New York, NY
July 27, 2006
Love triumphed in New York yet again, as modern dance choreographer Mark Morris visited the groves of an imaginary, pastoral Greece with the San Francisco Ballet. There is an elephant, though, in this peaceful glade, in the form of Sir Frederick Ashton, and, after seeing his magnificent version (which had not been revived when Mark Morris choreographed his), it is almost impossible, if very
“Sylvia”
American Ballet Theatre
Metropolitan Opera House
New York, NY
July 3, 2006
Several critics have referred to Sir Frederick Ashton’s “Sylvia” as the “surprise hit” of ABT’s last season. Hit, yes, but surprise? Given the piercing and triumphant sweetness of the score, the brilliantly realized, classically inspired designs of the London production, and the choreography by one of the greatest and most musical of dance makers, it would have taken some truly awful dancing to have destroyed
"La Bayadère"
American Ballet Theatre
Metropolitan Opera House
New York, NY
June 23, 2006
The audience at the opening night of ABT's "La Bayadère", as it stood and cheered, probably wasn't thinking about Natalia Makarova, but her production is one of the most valuable gifts ABT has ever received. Over the years, it has become richer and more layered, but she put the basic structure in place. It is strongly based on her memories of the Russian