Dance
“Ballet is only good when it is great,” the legendarily unblinking dance critic Arlene Croce once wrote; whenever I bring that judgement to mind it makes me both swallow hard and sigh softly.
Cinderella isn’t a lavish spectacle à la the Met, but rather, like its heroine, modest on the surface while pulsing with a generous heart underneath.
Few companies can do pageantry quite like ABT, buoyed by its vast resources as well as on this occasion the company’s desire to celebrate its 75th anniversary with panache.
Get your maps and open up your calendar app—it’s time to plan your summer of jazz in New England.
The performers must be so deeply invested in what they are doing that we are caught up in the narrative as its cobwebs are brushed away.
What happens when someone performs at the highest possible level of an art form and then has to give it up?
Jamie Kirsch describes Les Noces as “a non-stop, energetic, tour-de-force ride that lasts 25 minutes without a break and leaves you breathless by the end.”
Contemporary dance has no useful definition; maybe we could think of it as an attitude, a constantly changing venture.
Dance Commentary: Misty Copeland, Ballet, and Race
Tomorrow, Misty Copeland will be American Ballet Theatre’s first African-American ballerina to perform the lead role in Swan Lake in New York City.
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