Live by the Sword by Leigh Witchel As Juliet, Catherine Hurlin never forgot to give a performance as well as live it in Romeo…
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…
What’s Extreme? by Leigh Witchel Despite the dull trope (Extreme Taylor! Is that Paul Taylor’s choreography combined with paintball?), the Paul…
Switch, no Bait by Leigh Witchel Christine Shevchenko made us wait all the way until Act 3 of Onegin at American Ballet Theatre…
Inside and Outside Type by Leigh Witchel Casting against type can be a great way to stretch dancers . . . as long as…
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…
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…
The Soul of Brevity by Leigh Witchel Gibney Company, a group dedicated towards social justice as well as dance, brought two short, early Twyla…
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…
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…
