It Takes a Russian by Leigh Witchel Russians have the same reverence for Alexander Pushkin that we have for William Shakespeare: he’s the cornerstone…
In Fair Cinema, Where We Lay Our Scene by Karen Backstein Ballet met film – or rather, live video capture – in Benjamin Millepied’s Romeo and Juliet Suite,…
A Ballet Danced Well, But Not Wisely by Karen Backstein American Ballet Theatre opened its brand-new spring season at Lincoln Center with a revival of Lar Lubovitch’s…
Cunningham is the New Brown by Leigh Witchel Actually, it isn’t (fooled you)! But watching the Trisha Brown company do one masterwork of hers and…
The Folk and the Imperial By Karen Backstein It would be hard to imagine a more perfect double feature than New York City Ballet’s Masters…
The Body’s Speech by Leigh Witchel We speak with our bodies when we dance. Yet there is so much to say, even if…
Old Establishment, New Establishment by Leigh Witchel Lyon Opera Ballet brought back to New York a major work by Merce Cunningham we hadn’t seen…
Beauty was Everything at the Ballet by Karen Backstein During the second week of New York City Ballet’s run of The Sleeping Beauty, a trio of…
Confidence by Leigh Witchel Mira Nadon stepped out onstage for her debut as Aurora as if nothing could go wrong. And…
Beauty with a Blemish … or Two by Karen Backstein With plenty of pink and roses galore, the New York City Ballet awakened The Sleeping Beauty for…
