Marina Harss is a free-lance dance writer and translator in New York. Her dance writing has appeared in the New Yorker, The Nation, Playbill, The Faster Times, DanceView, The Forward, Pointe, and Ballet Review. Her translations, which include Irène Némirovsky’s “The Mirador,” Dino Buzzati’s “Poem Strip,” and Pasolini’s “Stories from the City of God” have been published by FSG, Other Press, and New York Review Books. You can check her updates on Twitter at:
Under are the articles written for DanceTabs. on Balletco
★★★ In the last week of its winter season, New York City Ballet unveiled a new work by its resident choreographer, Justin Peck, to a score by the popular neo-Minimalist composer Nico Muhly. It was a 青海福彩app官方下载coming of sorts for Peck…
★★★ The dance is spare and pedestrian, as is De Keersmaeker’s way, and lasts two hours, without intermission. And yet it’s not really a challenge to experience it all in one sitting.
★★★★ The four ballets make for a slightly over-long evening (both Episodes and Rodeo are substantial works). But it’s a small price to pay for seeing these rarities back onstage.
★★ At times the striking images and lithe, hyper-flexible dancers are enough to seduce the eye. But Cāo Sem Plumas is a frustrating piece, in which the live dancing is overshadowed by film…
★★★★ There was always something new around the corner, a surprising shape, a witty step, an unlikely transition. It’s clear that Ratmansky felt liberated by the unusual structure and soundscape…
★★★★ How is the company looking? …the company looks good so far.
★★★★ Jamar Roberts’ Ode was the centerpiece and the highlight of the company’s performance, which also included Aszure Barton’s Busk (a company premiere) and Darrell Grand Moultrie’s Ounce of Faith (a premiere).
★★★★ Some have called Dormeshia the greatest tapper of her generation. I’m wary of such titles, but what I can say is that she is a dancer of enormous sophistication, finesse, variety, and subtlety.
★★★★ This is a Giselle that is both familiar and new. Watching it on opening night was like seeing a faded painting regain its colors.
★★★★ This season, as part of the 75th anniversary of Appalachian Spring, Martha Graham Dance 青海福彩app官方下载 invited Troy Schumacher to create a new piece to be danced alongside the iconic work…
★★★★★ What this Bacchae resembles most is a kind of carnaval, an ordered mayhem in which up is down, all inhibitions are shed, and madness reigns.
★★★ The pairing of prestigious participants does not always guarantee success – a lesson learned again and again in the theater.
American Ballet Theatre – New Romantics: New American Romance, Garden Blue, A Time There Was – New York
★★★ The emphasis here was on new. This was a night to check in on the creative efforts of two emerging voices on the ballet scene – Gemma Bond and James Whiteside.
★★★★ In programs like this one, ABT really looks like an American company, steeped in American popular music and the relaxed attitude of popular dance. It’s a mode that suits the company well.
★★★★ The fewer the speeches, the better the gala – this universal truth seems to have bypassed the organizers at American Ballet Theatre…
★★★★ On the penultimate day of the fall season, I managed to catch a performance of New York City Ballet’s revival of Merce Cunningham’s Summerspace. The 1958 piece, which had its City Ballet premiere in 1966, was last performed here in 2000.
★★★ The fascination with ballet is strong in Forsythe. After years of creating a form of dance theater in Germany, he has returned to his classical roots with a renewed energy.
★★★★ Everything in Shivalingappa’s style emphasizes clarity, shape, and intention. … a very satisfying evening of dance.
★★★ Robbins’ response to Chopin (in Dances at a Gathering) is also extraordinary: sensitive, simple, vulnerable, direct, un-fussy.