Marcia B. Siegel
I missed the trademark orange Dynel wigs and the zany non sequiturs of the past, but Karen Krolak and the crew were still playing with fractured language.
My overall impression of the ballet was of earnest pretension.
Doug Varone’s strong sense of design, color, and music lends depth and a certain mystery to his dances.
Most of the piece was carefully engineered; it seemed more calculated than liberated
Boston Ballet’s reconstructed versions of Yakobson’s Pas de Quatre and four Choreographic Miniatures were a revelation.
A fascinating documentary in which you get both a Paul Taylor dance and the making of the dance.
Perhaps there’s no way to reproduce the subtlety of this work in the theater today. Our stages are so materialistic, so technological.
Zoë Anderson’s volume aims to give readers a handy way to discern the most influential ballets from among the confusing proliferation that we find in today’s repertory.
Dance Commentary: Is Dance Criticism Dead?
Neither dancers nor the dance audience are out on the barricades demanding more and better dance coverage.
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