Balanchine, Graham, Ailey, and De Mille appear, separated by perforation lines of course, on the United States Postal Service’s new 37-cent commemorative--American Choreographers. Issue date: May 4, 2004. Village Voice 4/28/04 … [Read more...]
TEMPTING FATE
Martha Graham Dance Company / City Center, NYC / April 14-25, 2004 If a long winter—meteorological or psychological—has scuttled your courage, you might want to check out a couple of terrific Martha Graham dances now being performed in repertory at the City Center. Cave of the Heart and Hérodiade are part of the Greek cycle that Graham created in the 1940s, spurred by the period’s newly awakened appetite for a psychoanalytical view of classical mythology. Both pieces present a pair of women, each tremendously strong in her own way, who … [Read more...]
BAFFLED IN NEW YORK
North Carolina Dance Theatre / Joyce Theater, NYC / April 13-18, 2004 “It’s a puzzlement,” says the monarch in The King and I. Having witnessed one of North Carolina Dance Theatre’s rare New York performances, I can only agree with the king. The company is led by a pair of former New York City Ballet principals, Jean-Pierre Bonnefoux and Patricia McBride—the latter one of the great dancers of the twentieth century, the originator and/or brilliant interpreter of many a Balanchine role. Why, I wonder, did this energetic and engaging … [Read more...]
Ailey II; ABT Studio Company
They deliver physical wonders with a modesty so profound, it looks like our era's most endangered commodity—innocence. (Ailey) Their rendering of Ashton's sublime matched trios, Monotones I and II, which aimed, rightly, for immaculate classicism and calm repose, was infinitely poignant. (ABT) Village Voice 4/13/04 … [Read more...]
LIVING DANGEROUSLY
Compagnie Maguy Marin / Joyce Theater, NYC / April 6-11, 2004 A curtain of flexible strips in carnival colors screens the three walls of the stage like a vertical Venetian blind. Nine dancers—first one, then several—emerge from behind this pliant barrier, then, just as mysteriously, vanish back into the corridors it shields. Suddenly revealed, then quickly concealed, again and again, they’re figures in events without warning that occur in a territory in flux. Strong, swift, no-nonsense types (trained for the dance and dressed for the … [Read more...]
Maureen Fleming
When she swathes her nude body in miles of gauze animated by a wind machine and lit to look like fire, you cave right in to her theatrical know-how. Village Voice 4/5/04 … [Read more...]

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Virginia on On Balanchine’s “Ivesiana”
I just returned from an afternoon at NYCB, watching Balanchine's various responses to American music. Like some of you,...Tobi Tobias on The Royal Danish Ballet in New York
Hello, Katrine, Jeanette Andersen is a long-experienced dance critic, currently living in Germany, She frequently writes about the Royal Danish...Thomas Schoff on On Balanchine’s “Ivesiana”
Ivesiana has been out of NYCB's standard repertory for many years--at least a decade, I think, and maybe more. ...Katrine on The Royal Danish Ballet in New York
I know this post was done a long time ago, but I must say, what Jeanette Andersen (who?) wrote is...Leo Greenbaum on On Balanchine’s “Ivesiana”
Thank you! I was there too.Theresa Bener on On Balanchine’s “Ivesiana”
Dear Tobi, It was with great interest that I read your detailed review of Ivesiana. Your vivid descriptions made it...Ann Allen-Ryan on On Balanchine’s “Ivesiana”
Tobi, thank you (once again) for sharing your insights and interpretations. I'm off to see this program this afternoon. While...George Dorris on On Balanchine’s “Ivesiana”
Ivesiana is indeed a remarkable work, perhaps not to be seen too often, to preserve its special feeling but also...Myra Malkin on On Balanchine’s “Ivesiana”
I'm going to a couple of performances just to see Ivesiana, and am very grateful for your description and your...Martha Ullman West on On Balanchine’s “Ivesiana”
Thank you, TT, for the blow by blow, play by play account of a ballet that is very much on...