The Kirov is a great ballet company because it has so many terrific dancers, but it doesn’t always know what to do with them. The dancers—here for a three-week season, just ended, at the City Center—were under a handicap: The stage is so much smaller than their own, in St. Petersburg, that the company’s classical Read More
I’ve been seeing Balanchine’s Jewels for more than 40 years, and that’s a lot of jewelry. In the beginning it seemed to many of us unique in its ambitions and its splendor; to others it seemed gaudy—paste. But no one thought it would ever travel. Too expensive, too many styles to absorb and what company Read More
A Midsummer Night’s Dream is one of George Balanchine’s greatest creations—and one of the greatest of all story ballets. Shakespeare gave us the enchanting play, Mendelssohn gave us the ravishing music, and Balanchine embodied them in movement so lucidly and fluently—so perfectly—that it’s hard to believe this wasn’t a collaboration, rather than the work of Read More
George Balanchine’s Don Quixote-that ambitious, mysterious work that fascinated and confused us all back when it was made in 1965-has just been restaged, by Suzanne Farrell, for the first time since it disappeared from the repertory in 1978. When it was made, Balanchine was 61, Farrell, his newest muse, was 19, and this extraordinary dance-drama Read More
You’ve heard of feast or famine? City Ballet’s Spring Gala gave us feast and famine. Five courses were dished up, and in a curious order: first, a heavy entrée; then, three hors d’oeuvres; finally, a fallen soufflé. You were left stuffed and stupefied-and hungry.
The program was a statement: The company’s future lies in The Read More
Martha Graham, along with George Balanchine, is one of the two commanding figures in 20th-century American dance. For those much younger than I am, her genius as a performer will have to be taken on faith-and on the always-suspect evidence of film. What will last, if things go well, is her genius as a choreographer, Read More
The year ended with a bang, not a whimper. The Trocks-O.K., fact-checkers, Les Ballets Trockadero de Monte Carlo-turned up for two weeks of fun and games at the Joyce , and even though there were longueurs, they gave us a very needed shot in the arm. Because, let’s face it, 2004 was a bumpy ride. Read More
On Sunday afternoon, former New York City Ballet dancer Toni Bentley glissade ’d into the garden of the Chateau Marmont to discuss her new memoir about sodomy.
Specifically, butt sex. The Surrender —Ms. Bentley’s annals of anal, her tract about her tract, her literary end-all be-all (it becomes hard to stop)—will be published by ReganBooks Read More
At the very last possible moment, after the endless parade of non-events, silly events and disastrous events perpetrated by City Ballet to mark the George Balanchine centenary, there was finally a real event-three performances by the imported Georgian State Dance Company. Yes, Georgia was the place of Balanchine’s origins (although he didn’t set foot there Read More
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