Baroque Variations

by Leigh Witchel An all-Paul-Taylor triple bill that his company danced during its Lincoln Center season went for baroque – … More

Straightforward

by Leigh Witchel There’s something so forthright but simple about the way José Limón built his work, like a cathedral … More

Here/Again

by Leigh Witchel Thirty years later, Bill T. Jones’ Still/Here returned to the Brooklyn Academy of Music, where it was … More

Standing on Ceremony – or Not.

by Leigh Witchel American Ballet Theatre’s Choreographers of the 20th and 21st Centuries program was a triple bill of powerhouse … More

Elements of Style

by Leigh Witchel You can’t fault American Ballet Theatre’s Innovation Past and Present triple bill for lack of variety. The … More

Inside, Looking Out

by Leigh Witchel “I struggled a lot with how to adapt my own physicality to balletic form.” Justin Peck said … More

Would You See it Again?

by Leigh Witchel Three female choreographers were featured on New York City Ballet’s New Combinations program. Only one of their … More

All That and a Bag of Chips

by Leigh Witchel Yes, ballet spends too much time worshiping youth. There’s beauty in every flower from the bud to … More

Like a Prayer

by Leigh Witchel New York City Ballet is pushing Peter Walker in an unexpected way – to be a partner … More

Endurance

by Leigh Witchel The final program for Fall for Dance involved enormous changes at the last minute. Sara Mearns took … More