Review: Mark Morris’s Egalitarian Ethos and Top-Class Art
The deceptively modest programs at his Brooklyn dance center include a nearly new knockout, a major revival and career-spanning variety.
Highlights
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CreditMartha Swope, Billy Rose Theatre Division, The New York Public Library Jerome Robbins, Ballet’s Mr. ‘Take It Easy, Baby,’ at 100
Our chief dance critic on this great theater maker and his particularly American style of ballet, which weeded out artifice and embraced naturalism.
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CreditErik Tomasson Critic’s Notebook
San Francisco Ballet’s Limpid Sophistication Shines in ‘Unbound’
Eight of the festival’s 12 premieres were theatrically individual, with all four programs substantial.
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CreditNew York City Ballet the breakdown
Two Seconds That Explain Balanchine
Our chief dance critic walks us through the opening seconds of “Concerto Barocco,” which returns to New York City Ballet this week.
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Credit Intertwined in Balanchine
Tiler Peck and Taylor Stanley perform a portion of the pas de deux from George Balanchine’s “Symphony in Three Movements.”
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Credit Lar Lubovitch Is Looking for Poets
Watch a portion of “Little Rhapsodies,” which features Mr. Lubovitch’s lush, flowing movement.
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Credit Empowerment, Martha Graham-Style
A section of “Chronicle” (1936), Graham’s scorching, all-female response to fascism.
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Credit Haunted by the Familiar
The choreographer and dancer Jack Ferver made this duet, part of his new show “Everything Is Imaginable,” for himself and his old friend Reid Bartelme.
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Credit Tape Heads and Bodies
In “What will we be like when we get there,” Joanna Kotze and Netta Yerushalmy share the stage with a composer, who creates the score live, and an artist, who uses tape to paint the floor.
