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Fisher Center, Bard College, Fall Events 2014
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Archive for the ‘Dance’ Category

Thumbnail : The Nutcracker, A Valentina Kozlova Dance Conservatory Performance Project

The Nutcracker, A Valentina Kozlova Dance Conservatory Performance Project

This version of the beloved holiday classic, The Nutcracker, is less a focus on technical brilliance and more a charming family event with a host of young (and very young dancers). I went with two teenage girls, both veterans of other performances including the iconic New York City Ballet version. We agreed that the dancers worked hard and danced their little hearts out and that a huge amount of time and effort, to say nothing of a lot of rehearsals, went into the performance.

Thumbnail : Mikhailovsky Ballet Performs The Flames of Paris

Mikhailovsky Ballet Performs The Flames of Paris

Move over Les Miz! The Flames of Paris is an opulent, highly muscular, charged ballet that’s mass entertainment complete with sward-fighting, clog dancing, folk music and enough revolutionary zeal to please any audience. It also makes the French Revolution look like an event that took place between dessert and coffee – no guillotines, no blood and almost no tragedy if you don’t count the two on-stage deaths that register more as plot lines than emotional grabbers.

Thumbnail : The Mikhailovsky Ballet to visit New York—at the Koch Theater, November 11-23, 2014

The Mikhailovsky Ballet to visit New York—at the Koch Theater, November 11-23, 2014

Get ready for a great dance experience via the Mikhailovsky Ballet, a company that combines classical tradition with a modern look, arriving at Lincoln Center’s Koch theater for an all-too-short engagement beginning November 11, 2014 and ending November 16.

Thumbnail : Three Acts, Two Dancers, One Radio Host

Three Acts, Two Dancers, One Radio Host

At one point in the entirely delightful Three Acts, Two Dancers, One Radio Host, Ira Glass observes that Monica Bill Barnes and Anna Bass imbue their performances with personality just like “real people” as differentiated from more typical dancers with bland facial expressions who spin around. Bingo. This hybrid of two art forms, dance and radio, is like nothing I’ve ever seen, and I doubt that anyone else in the large Town Hall audience has either.

Thumbnail : Wind and Tree, a Three-screen Dance-video by Abe Abraham

Wind and Tree, a Three-screen Dance-video by Abe Abraham

The three screens turned out to each be the size of a household flat-screen TV so I was a little taken aback having somehow expected to find three huge screens but no matter. Jack, a performance space, consisting of a large room with three of its four walls covered in tinfoil, made an unorthodox, but rather appropriate venue for this very avant-garde film which runs 45 minutes.

Thumbnail : A Shakespeare Double-Bill at the American Ballet Theater: Ashton’s The Dream and Ratmansky’s The Tempest

A Shakespeare Double-Bill at the American Ballet Theater: Ashton’s The Dream and Ratmansky’s The Tempest

ABT’s The Dream is highly poetic, romantic and vaguely Victorian. It differs from the version presented by the New York City Ballet in that it is only one act and has a somewhat different story line as well as highly contrasting choreography. (I confess to a preference for the NYCB version, but so be it.) Herman Cornejo was unquestionably the star of the performance, a magical, energetic Puck whose leaps are astounding. He spins so brilliantly I couldn’t tell how many rounds he made; took to the air as though truly born an elfin sprite and displayed a keen a sense of humor. Oberon was danced by Cory Sterns in place of the injured David Hallberg. In one charming moment, Oberon partnered Puck; when the sprite leapt into his master’s arms, the audience let loose a collective chuckle. This Oberon, regal and compelling, does some of his own dirty work, sprinkling the love charm into Titania’s eyes so that when she awakens she is entranced by Bottom, complete with ass’s head, and danced with panache by Blaine Hoven.

Thumbnail : Savion Glover’s OM, at the Joyce Theater

Savion Glover’s OM, at the Joyce Theater

Savion Glover’s newest production, OM, is as much a mystical experience as a dancing one. The performance, which spans about seventy minutes with no intermission, begins with a lengthy jazz recording of what I think is Calling by Kenny Garrett, very improvy -sounding and full of saxophone. During this pre-performance period, the audience views the front of the stage lined with small bulbs that seem to flicker in the half-light with a head of Buddha on one side. Finally the curtain is raised, revealing the stage set with hundreds of candles of all sizes, and photos of Glover’s spiritual mentors, some dance figures like Gregory Hines and others more spiritual like Gandhi. I’m not sure where Michael Jackson fits in. Glover, minus his trademark dreads, stood on a small platform in the center where he remained for the entire performance.

Thumbnail : Mendelssohn’s A Midsummer Night’s Dream in Balanchine’s choreography at the New York City Ballet with Karinska’s Costumes Restored

Mendelssohn’s A Midsummer Night’s Dream in Balanchine’s choreography at the New York City Ballet with Karinska’s Costumes Restored

A Midsummer Night’s Dream deals with totally unrealistic events including crossed lovers, magic spells, and meaningless arguments. The performance by the New York City Ballet with Balanchine’s original choreography integrates broad comedy with magnificent dance for a hugely satisfying evening.

 

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  • A Singer’s Notes 101: Except ye become as children …
    My weekend has been dominated by children, their thoughts, and my thoughts about them. Charles Dickens, a passionate admirer of little ones, finds his most searing location for them in his beloved A Christmas Carol. Even the death of Little Dorrit lacks the resonance that this short novella has shown. The attachment with Christmas is […]
    Keith Kibler
  • The BEMF Chamber Operas 2014: Pergolesi’s La serva padrona and Livietta e Tracollo
    Pergolesi’s comic operas sound remarkably modern—which is to say, like Mozart. Recognizably human characters go through recognizable experiences, singing out their feelings very directly, which the music embodies in fluidly changing tempos and moods, stretching of harmony, changes of key and orchestral color. Much is accomplished through musically creative recitative—a half-spoken way of proceeding—as well […]
    Charles Warren
  • What is and what might have been: More Nelsons at the BSO, Chailly and the Leipzig Gewandhaus Orchestra
    I couldn’t have been more eager to hear Riccardo Chailly and the Leipzig Gewandhaus Orchestra on their return visit to Boston, part of an American tour celebrating the 25th anniversary of the “Peaceful Revolution” that began in Leipzig in October 1989 and a month later led to the fall of the Berlin wall. Chailly continues […]
    Lloyd Schwartz
  • A Singer’s Notes 100: Shakespeare and Company’s Fall Festival
    A good while ago now, I stepped into an ancient school bus, left a tiny hamlet in the foothills of the Adirondacks, and traveled to the glittering metropolis of Johnstown, New York. There, The Tempest was being played by a traveling troupe, and somehow our country school got us there. The play was The Tempest. […]
    Keith Kibler

New York Arts is dedicated to bringing you the best critical writing about the arts, in-depth, and written by passionate, engaging writers.

 
Every page on the site is free, and so are subscriptions to our email updates.
 
New York Arts survives on your voluntary support.
 
Why?
 
A. Our writers are professionals and should be paid for their work, and so should the editors, who also carry out the everyday tasks of maintaining the site and business.
 
B. There are daily costs in maintaining the site, transportation, professional expenses, and so on...to a long list.
 
C. The editor currently takes on all the administrative work. We need a specialized assistant/administrator.
 
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.
 
If you enjoy what your read here, support New York Arts and keep serious criticism alive! You won't find it in your local newspaper anymore!