Gelsey Kirkland has had more than her share of demons, as her two distressing memoirs - and her violently checkered career - attest.
From Robert Gottlieb
I can't claim to 'understand' 'Byzantium,' if any dance work can be 'understood,' but whenever I see it, I sense that it's charged with meaning.
The early giants of modern dance - Isadora Duncan, Ruth St. Denis - barely left traces of their art.
I can't remember how many years it's been since I last saw a David Parsons program or what I saw whenever it was, but that isn't surprising, since I can't really remember the first half of a David Parsons program while I'm watching the second half.
Without a Prospero-Caliban relationship to balance the Prospero-Ariel one, 'The Tempest' loses much of its resonance.
I hated Matthew Bourne's 'Swan Lake' when it first turned up, and then when it was televised, and then when it returned.
Ballet Hispanico is far from Irish, and, though it has strong dancers, its Spanishness has always left me unconvinced.
'Neverwhere,' by Benjamin Millepied, is set to his favorite composer, Nico Muhly.
What guarantees - or at least semi-guarantees - good ballets is good choreographers, and they are thin on the ground.
'River of Light,' to a dense but powerful score commissioned from Charles Wuorinen and with ravishing lighting by Mark Stanley, has depth and resonance.
33 perspectives
19 perspectives
18 perspectives
16 perspectives
14 perspectives
4 perspectives
2 perspectives