by Leigh Witchel As Juliet, Catherine Hurlin never forgot to give a performance as well as live it in Romeo … More
Category: Leigh Witchel
Late, Middle, Early
by Leigh Witchel Turn your watch, let’s move backwards in time. New York City Ballet’s triple bill of works by … More
What’s Extreme?
by Leigh Witchel Despite the dull trope (Extreme Taylor! Is that Paul Taylor’s choreography combined with paintball?), the Paul … More
Switch, no Bait
by Leigh Witchel Christine Shevchenko made us wait all the way until Act 3 of Onegin at American Ballet Theatre … More
Inside and Outside Type
by Leigh Witchel Casting against type can be a great way to stretch dancers . . . as long as … More
Ratmansky’s Fairy Tales
by Leigh Witchel The opening night of the Stravinsky’s Fairy Tales double bill in Amsterdam for two of the composer’s … More
Quadruple Play
by Leigh Witchel There was almost complete turnover in New York City Ballet’s Robbins/Tanowitz/Peck quadruple bill. Each work had a … More
The Soul of Brevity
by Leigh Witchel Gibney Company, a group dedicated towards social justice as well as dance, brought two short, early Twyla … More
Vindication – Indication
by Leigh Witchel The Sarasota Ballet’s week at Covent Garden wasn’t a preordained slam-dunk. It was heading into the engagement … More
The Loss of Small Detail
by Leigh Witchel Even if you weren’t keen on celebrating Ashton, there was plenty to see in the second Ashton … More