A Thing of Beauty
I can only imagine the challenge it might be for a creator to approach the cavernous 55,000 square foot drill hall of Park Avenue Armory in its raw state.
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On the evening of March 7th, New York City Ballet opened a run of shows at Sadler’s Wells Theatre. This performance, which marked the company’s first appearance in London since 2008, was met with equal parts excitement and nervous anticipation. The troupe has undergone a number of seismic shifts in the last 16 years: in 2017, the longtime artistic director, Peter Martins, resigned in the face of abuse claims; in 2018, a nude photo-sharing scandal erupted, resulting in the firing of three male principal dancers; and in 2020, over a year’s worth of performances were canceled due to the Covid pandemic. Fortunately, none of these upheavals have managed to detract from the particular pleasure that arises from watching NYCB in action. For New Yorkers like myself in the audience, that pleasure was only doubled.
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I can only imagine the challenge it might be for a creator to approach the cavernous 55,000 square foot drill hall of Park Avenue Armory in its raw state.
Continue Reading’Tis the season, so it would be churlish to pick holes in Christopher Hampson's glorious confection, adapted from Peter Darrell's iconic work.
FREE ARTICLELike two cicadas advancing, springing instep with each other, Tra Mi Dinh and Rachel Coulson manifest from the shadows of the deep stage of the new Union Theatre.
Continue Reading“I can’t even stand it,” exclaimed Tina Finkelman Berkett about the Perenchio Foundation grant that her dance troupe, BodyTraffic, recently received.
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