“Pepperland,” a deconstruction of the Beatles’ “Sgt. Pepper,” is a series of brainy notions — evocative but distanced.
Author Archives: ALASTAIR MACAULAY
Dancing the August Bournonville jewels of their home repertory at Jacob’s Pillow, the Royal Danish Ballet comes close to the heart of dance.
Kenneth MacMillan’s “Romeo and Juliet,” a beloved war horse at American Ballet Theater, has suddenly lost luster despite impressive new faces onstage.
Odette is one of the great Romantic symbols of the longing for redemption, says our chief critic as “Swan Lake” returns to American Ballet Theater.
The National Ballet of Canada’s new work is a singular, sometimes electrifying, tribute to the British Canadian director Norman McLaren.
The company, directed by a team of four young people since the resignation of Peter Martins, is in a state of impressive improvement.
Who is Swanilda, the lead of “Coppélia”? Our critic demonstrates how her ebullient, game-changing character is shown in her steps.
Wayne McGregor’s “AfteRite,” an expressionist take on “The Rite of Spring,” might have seemed odd programming for a gala evening.
One lesson of New York City Ballet’s Jerome Robbins celebration concerned his musicality, which often points to parts of the score left undanced.
Natalia Osipova stood out among the dancers interpreting the role this season at the American Ballet Theater, showing how she has grown as an artist.