Eric Taub, based in New York, is just trying to write about dance and other things, intelligibly.
Under are the articles written for DanceTabs.
★★★★ It’s comforting to know that at even my advanced age I can still be confounded even by hoary old Swan Lake.
★★★★ As a special one-off, Michael Trusnovec, now a guest artist, danced the solo from George Balanchine’s spiky and ascetic Episodes which he made for Paul Taylor in 1959.
RB, ABT, NYCB & NYTB dancers at the Joyce Ballet Festival – Prog C, curated by Jean-Marc Puissant – New York
★★★★ Starwise, Bejart’s Wayfarer bumps this program from two stars to four.
RB, NBoC & ABT dancers at the Joyce Ballet Festival – Prog B, curated by Lauren Cuthbertson – New York
★★ I hadn’t seen much of the well-regarded Cuthbertson, so I was looking forward to this chance to get to know her (she appeared in four of five pieces), as well as the not-always-dubious introduction to new works by new choreographers…
★★★ One of the earliest things I appreciated about Balanchine is that he made me feel okay about liking Tschaikovsky (as NYCB likes to spell it)…
Fall for Dance 2018, Program 1 – Boston Ballet, Sara Mearns, Caleb Teicher & Co, Cie Hervé Koubi – New York
★★★★ On the second night the program was offered, Mearns was stunning, but the remaining three pieces, by three different companies were, to varying degrees, engaging, although hers was a tough act to follow.
★★★ Ultimately, the best thing about Alonso’s Giselle is that it’s danced by Cubans, and that’s good enough for me.
Quibbling and C^oté aside, these were both terrific performances, bursting with energy …I wouldn’t mind seeing the Canadians become regular visitors to Saratoga
American Ballet Theatre have a new production of Le Corsaire. Eric Taub sees the headline casting of Natalia Osipova and Ivan Vasiliev – but was he moved and wowed? Not really…
Along the way, the show strings together some memorably ravishing songs and knock-out dance numbers while having fun…
…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 experience, and eloquent of its history.
New York City Ballet – Concerto Barocco, Kammermusik No. 2, Firebird, Symphony in C – Saratoga Springs
After the dreary bombast of Alexei Ratmansky’s recent Firebird for American Ballet Theatre, the Balanchine/Robbins version, with its blessedly shorter score (Stravinsky’s Firebird Suite), heavenly Chagall designs and the great Ashley Bouder in one of her first great roles, was a welcome palliative.
Ten or so years ago, I was watching ABT soloist Gennadi Saveliev dance Lankendem, the red-pajamad slave-dealer in ABT’s nicely condensed Le Corsaire, when he uncorked a step that made my jaw drop.
…so I will just conclude with noting that another depressing thing about the evening’s kitsch-ridden choreography was that it didn’t quite obscure the occasional glimmers of brilliance that reminded us that these men are, indeed, among the world’s best, despite this tawdry presentation.