by Leigh Witchel Guillaume Côté has been the National Ballet of Canada’s reigning prince for two decades. But surrounded by … More
Tag: Sara Mearns
Vocal Visualization
by Leigh Witchel Alexei Ratmansky’s newest work for New York City Ballet had its debut at the New Combinations Evening … More
Less is More. Really.
by Leigh Witchel With gems, you’re better off with a perfect trio, duo or solitaire then to drip with bling. … More
Maxi-Event
by Leigh Witchel What better way to blow out 100 candles? The Merce Cunningham Trust, along with BAM, UCLA and … More
Top Drawer or Second Tier?
by Leigh Witchel Beyond the top two or three, it’s tough to agree on the top rank of Balanchine’s ballets. … More
Postcards from the Interregnum
by Leigh Witchel Taking the pulse of New York City Ballet in its first weeks, the patient looked healthy enough: … More
Basic Instincts
by Leigh Witchel Sometimes pianos are forced to play the concerto themselves. Lack of coaching is a legendary complaint of … More
Ordinary or Extraordinary?
by Leigh Witchel Jodi Melnick’s fascination with the virtuosity of the ordinary had strange bedfellows at Works & Process: three … More
Going On With The Show
by Leigh Witchel When you’re uncertain, wear your best outfit. New York City Ballet took that advice. The company has … More
Steps or Choreography?
by Leigh Witchel Program 4 of Fall for Dance had four dances on it. Two were choreography. Gauthier Dance/Dance Company … More