Essays on the Performing Arts
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On the West Coast, a Distinguished Company Avoids Showing Any Gray
Members of San Francisco Ballet in Mark Morris’s Drink to Me Only. Photograph: Erik Tomasson.
In the Cunningham Dimension, Multiplicities in Time and Space
Brandon Collwes, left, of the Merce Cunningham Dance Company, performed on one of five stages arranged around a large space at Dia: Beacon. (A second can be seen at right.) Stephanie Berger
Off to London, but Not Packing Their Best
New York City Ballet in the opening image of George Balanchine’s Serenade. Photograph: Paul Kolnik.
Then, With a Touch of Now, and a Fully Charged Prodigal Son
Damian Woetzel in the title role of George Balanchine’s ballet The Prodigal Son. Photograph: Paul Kolnik.
‘Emeralds,’ ‘Rubies’ and ‘Diamonds’ Reveal Facets of a Company’s Style
Alina Cojocaru and Rupert Pennefather in the Royal Ballet’s producton of George Balanchine’s Diamonds. Photograph: Johan Persson.
Thanks to a Protégée, Power in Rarely Seen Balanchine
Elisabeth Holowchuk and Matthew Prescott of the Suzanne Farrell Ballet in George Balanchine’s Pithoprakta. Photograph: Linda Spillers.
Creating Radiant Space and Polishing New Facets of a Dance Gem
Jennifer Carlynn Kronenberg and other Miam City Ballet dancers in George Balanchine’s Emeralds. Photograph: Joe Gato.
The Dance of the Final Bow
Darcey Bussell as Manon (Kenneth MacMillan). Photograph: Johan Persson.
Legends of Life and Art, Stravinsky and Balanchine
Yvonne Borree, Ashley Bouder, Megan Fairchild, with Nikolaj Hübbe as the muses and Apollo in George Balanchine’s Apollo. Photograph: Paul Kolnik.