I loved Ratmansky's new Firebird at American Ballet Theatre. The controversy it has stirred up among critics and balletomanes--many are ambivalent, some downright despise it--also makes sense, given the local, Balanchine production's regular outings.  In the Balanchine and Fokine, the firebird is the only character that matters. Balanchine's choreography for her--early and late--is … [Read more...]

From my Financial Times review of Tchaikovsky Suite no. 3, playing only until Sunday at New York City Ballet: Balanchine discovered in Tchaikovsky, his fellow Petersburger, romance and imperial elegance entwined - or at least following fast on one another. But in this odd, late ballet, the choreographer kept them apart.Tchaikovsky Suite No. 3 begins in a swoony state. Behind a foggy scrim, Ask … [Read more...]

There are Petipa ballets in which nearly every step conveys character, but La Bayadere is not one of them. Wednesday's fielding of three promising dancers in nearly new roles confirmed how hard the ballet proves for demonstrating theatrical chops.  Petipa's typical structure--interrupting the story for dance "entertainments" -- used to drive me crazy. It felt so archaic and … [Read more...]

I've seen two Giselles at American Ballet Theatre this week--Alina Cojocaru and Angel Corella; and Natalia Osipova and David Hallberg. Both sets of dancers were great together and individually compelling--in part or in whole. It's that "part" that I'm wondering about--particularly for the title character, given the vast changes she endures. In the first act, young comely peasant … [Read more...]

What's participatory art good for? I consider the question in the Village Voice.  Check it. … [Read more...]