Boris Eifman’s Musagète may not be the worst ballet ever put on by New York City Ballet-the last 20 years have offered it lots of competition-but its premiere last Friday was without question the lowest point in the history of the company (and I’ve been following its fortunes since the beginning, in 1948). Forget the Read More
This shouldn’t take long. The new Boris Eifman ballet, Who’s Who , is just as ghastly as previous Eifman ballets, but instead of overwrought, like most of his work- Red Giselle , The Karamazovs , Tchaikovsky , Russian Hamlet -it’s underwrought. Since Eifman has a tiny (and ugly) dance vocabulary, and is completely unresponsive to Read More
Why is the one thing we remember about Pinocchio that his nose grows longer whenever he tells a lie? The telltale nose plays a very minor role in the wonderful Disney version of 1940, which is probably how most Americans know Pinocchio, and it isn’t even crucial in Carlo Collodi’s original children’s tale, first translated Read More
