Guillaume Côté's new ballet, “Being and Nothingness” made its premiere alongside two-thirds of Alexei Ratmansky's “Shostakovich Trilogy.” Two quite different pieces to put together and yet the bill was a success. Côté's existential mood allowed the dancers to explore darker shades in vingettes, while Ratmansky's “Shostakovich Trilogy” kept a steady flow of movement.
Performance
Place
Words

Kathryn Hosier and Félix Paquet in Guillaume Côté's “Being and Nothingness.” Photo by Karolina Kuras


subscribe to continue reading
Starting at $49.99/year
- Unlimited access to 1000+ articles
- Weekly writing that inspires and provokes thought
- Understanding the artform on a deeper level
Already a paid subscriber? Login
Featured
Show and Tell
The Guggenheim Museum’s beloved behind-the-scenes New York dance series, Works & Process, was founded in 1984 by philanthropist Mary Sharp Cronson.
Continue ReadingTurbulent and Extraordinary
The late Alvin Ailey famously set his sights on creating “the kind of dance that could be done for the man on the streets, the people.”
Continue Reading
comments