Swan Lake has been having a moment. Enchantingly flexible, it has accommodated interpretations as diverse as Matthew Bourne’s with its all-male swan corps to Guangdong Acrobatic Troupe of China’s, which features the Swan Queen balancing on top of her paramour’s head. Maybe that’s because, like all timeless stories, its many light and dark elements can be mixed and matched in infinite ways. The original incarnation, with a clear delineation of good versus evil, settled long ag
Quiet isn’t silent, and choreographer William Forsythe knows the difference. In his A Quiet Evening of Dance at The Shed’s Griffin Theater, the primary soundtrack in the first act is the dancers’ pants, grunts, and wheezes. Occasional bird chirps, and later, a sparse, grumbling score for piano do knock at the musical void, but the result remains the same — to make you see the movement. Absence directs attention to presence. Because it’s Forsythe, there’s a lot to . . . TWO MI
Writing The Winner helped me make a friend! In 2016, when I released The Winner: A Ballroom Dance Novel, I signed up for a service that would put my book in the hands of reader/reviewers. Reviews are critical to the success of a book because they answer the most crucial question: Is this worth reading? I certainly thought The Winner was worth reading, and I hoped others would too. Alexandra was one of the first to read and review The Winner. Her review honed in on one of my b
It’s impossible to imagine the stages of the 20th century without Jerome Robbins’ contributions. How impoverished they would be without Fancy Free (1944), his jaunty smash about three sailors on shore leave, and Dances at a Gathering (1969), a meditation on transience set to Chopin.
Born in 1918, the year World War I ended, Robbins had his finger on America’s pulse until his death in 1998. He captured the zeitgeist of our time and embedded it in dances that transcend time.
Fifty years of doing anything — especially if it’s choreographing — deserves a celebration, which is what Lar Lubovitch’s one-week residency at The Joyce Theater feels like. The program presents six pieces over three programs (I missed George Mason University School of Dance’s A Brahms Symphony from 1985), including one premiere — the vaguely liturgical Something About Night. Like any good party, this one shares the fun with friends. Martha Graham Dance Company spiritedly sta
My new novel, The Pas de Deux: A Classical Ballet Romance, is on Kindle Scout until January 5, 2018. You can read an excerpt, check out my competition, and find out why I think the romance genre is the perfect embodiment of the Hegelian dialectic by clicking HERE. For what it’s worth, this is the best thing I’ve written this year, and I’ve written some things (like this, this, and this) that I — even with my perfectionism and self-doubt — thought were pretty good. #ballet #ba
Henri Matisse's Dance In the interest of streamlining my dual interests of dance and writing, I've relocated my blog to my personal website. I started it five years ago to practice the art of dance criticism. Over the last few years, it hasn't been much more than a dumping ground for my professional reviews and previews. I hope to change that with the occasional post dedicated to my I-don't-know-what-yet musings. To kick off my blog's revival, I'm revisiting something I wrote