This week, Devon Carney was named Artistic Director of Kansas City Ballet.
In George Balanchine’s Serenade and Symphony in C and in Wayne McGregor’s Chroma, architecture comes to the fore, but not exactly conveying the message that company director Mikko Nissinen seems to have intended.
To his credit, Boston Ballet’s artistic director Mikko Nissinen is looking far and wide for ways to expand the company’s repertory.
New York Times dance critic Alastair Macaulay is on solid ground when he critiques the shape of the dancers, but why his insulting tone? How do we, as readers, judge a critic who describes a dancer’s body in a demeaning way? By Megan Trombino While sitting at the Boston Ballet‘s production of The Nutcracker (through […]
A Mark Morris world premiere is turning the attention of the national press to the state of the Boston Ballet Company under new director Mikko Nissinen. By Debra Cash Choreographer Mark Morris once said something to the effect that after George Balanchine died, people started to believe that every work Balanchine had ever choreographed was […]
Boston Ballet’s staging of James Kudelka’s version of “Cinderella” is not just another exercise in transforming a sad drudge into an airbrushed tootsie.
By Debra Cash Blame Alicia Alonso for reinforcing her own senseless Cuban embargo. The famed (and literally blind) dramatic ballerina who is the fountainhead of Cuban ballet and an official Friend of Fidel seems to have felt that although she made her own performing career in the United States the Cuban “dance drain” of ballet […]