As ye sow, so shall ye reap. When a ballet company spends a lot of money on gimmicky pieces, it’s stuck with them for a while—they have to earn their keep. Likewise, when it spends a lot of money on an arid version of a classic, it too has to serve again and again. In its current season, City Ballet is reaping what it sowed: Yet another go round for Peter Martins’s arid, antiromantic Romeo and Juliet, and exhumations of the awful Lynn Taylor-Corbett Seven Deadly Sins (gimmick: Patti LuPone singing—badly—the Kurt Weill/Lotte Lenya songs) and the awful Peter Martin Ocean’s Kingdom (gimmick: music by Paul McCartney). I can’t imagine any knowledgeable ballet-lover wanting to see any of these more than once. Read More
One of the eternal mysteries of ballet is how untalented choreographers find backers for their work, and then find good dancers to perform in it. Is it irresistible charm? Chutzpah? Pure determination? Blackmail? Or are so many supposedly knowledgeable people just plain blind?
The latest example of this phenomenon is 26-year-old Avi Scher, who for Read More
If I told you that Spider-Man: Turn Off the Dark is visually stunning but emotionally unengaging, that its action is sporadically thrilling but its plot often indecipherable, and if I told you that this is what I’ve been hearing from friends and reading in chat rooms and status updates, I’d be telling you the truth. Read More