Making an annual visit to the New York City Ballet’s “George Balanchine’s The Nutcracker®” is like tuning into a balletic State of the Union address. This is the time of year when City Ballet asserts cultural and commercial dominance (it has the preeminent “Nut” in the marketplace) and company patriotism burns brightest (in advertising, anyway—just look at all those possessives and the trademark in the title). But though this oft-imitated production is copyrighted and tightly regulated, it is not inalterable. Like the Constitution, it is amendable and evolves with the times. Most of the changes have been positive: in recent years, the Tea costumes and choreography have been tweaked to be less offensive, and the Black women in the company now wear skin-colored tights and pointe shoes instead of pink. But sometimes there are less pleasant cutbacks to ensure fiscal solvency, as in last year’s use of teenagers instead of children to keep the cast, the production, and the troupe afloat (even so, half of the season had to be canceled for a Covid surge).
Mira Nadon, center, as the Dewdrop in “The Nutcracker” by George Balanchine. Photograph by Erin Baiano
At 82, Twyla Tharp shows no signs of slowing down. She brought two world premieres and an all-star revival to the Joyce this week. The newest dances made it clear that although she’s still a dynamo, aging is very much on her mind. She is exploring wistful terrain these days, but she is doing it with her characteristic humor and high step count.Continue Reading
Dance has always been a part of Tammy Greenwood’s life. Growing up, she studied ballet, tap, jazz, and acrobatics, and when her daughter took up the art form, she became involved through the unwavering—and sometimes self-sacrificing—support that is often asked of a dance mom.FREE ARTICLE