Cunningham is the New Brown by Leigh Witchel Actually, it isn’t (fooled you)! But watching the Trisha Brown company do one masterwork of hers and…
The Folk and the Imperial By Karen Backstein It would be hard to imagine a more perfect double feature than New York City Ballet’s Masters…
The Body’s Speech by Leigh Witchel We speak with our bodies when we dance. Yet there is so much to say, even if…
Old Establishment, New Establishment by Leigh Witchel Lyon Opera Ballet brought back to New York a major work by Merce Cunningham we hadn’t seen…
Beauty was Everything at the Ballet by Karen Backstein During the second week of New York City Ballet’s run of The Sleeping Beauty, a trio of…
Confidence by Leigh Witchel Mira Nadon stepped out onstage for her debut as Aurora as if nothing could go wrong. And…
Beauty with a Blemish … or Two by Karen Backstein With plenty of pink and roses galore, the New York City Ballet awakened The Sleeping Beauty for…
A Touch of Politics, a Touch of Play by Karen Backstein The ruler of the realm in New York City Ballet’s Contemporary Choreography 2 program was its 500th…
The Truth in Front of Our Eyes by Leigh Witchel Alexei Ratmansky’s The Naked King is both daring and modest in ambition. Based on a Hans Christian…
Revelations from the Diaspora by Karen Backstein The Alvin Ailey Dance Company’s City Center season, its first under new Artistic Director Alicia Graf Mack,…
