Marcelo Gomes returns to American ballet, but as a choreographer and with unconvincing results. Gemma Bond proved the most capable of dance poetry.
Author Archives: ALASTAIR MACAULAY
Amid the excessive production values that make too much modern flamenco look synthetic, Jesús Carmona shows sunniness along with bravura.
BalletX presents full-bodied and engaging new ballets, while Pennsylvania Ballet offers a superficial “Swan Lake.”
While City Ballet waits for a successor, its history has gone on developing in performance. Roman Mejia, 18, made his presence felt.
Our dance critic walks us through the finale of George Balanchine’s “Divertimento From ‘Le Baiser de la Fée,’” the work of a master dramatist.
Prokofiev’s score works its potent cinematic charm, but Peter Martins’s 2007 ballet still seems like a series of unfinished sketches.
Patricia McBride, a New York City Ballet luminary, recently returned to the company to coach a Balanchine ballet she created in the 1970s.
In her new work, Dana Reitz’s engrossing choreography is wedded to poetic lighting with marvelous imagination.
Both set in a dark forest, Alessandro Scarlatti’s “Erminia” and Francesco Geminiani’s “La Forêt enchantée” are rarities on any stage.
The young choreographer Peter Walker presents his second dance creation at New York City Ballet.