AUTO Visits NEWS » Items by By ALASTAIR MACAULAY

Dance Review: A Mystical Merger of Traditions, Past and Present

Posted: August 25th, 2008, 4:34am GMT by By ALASTAIR MACAULAY

It was too bad that the last half of the closing performance comprised the three dreariest works of the Erasing Borders festival.

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Dance Review: Thanks to Chopin, Isadora Duncan’s Hop, Skip and a Jump to the Masters

Posted: August 25th, 2008, 4:03am GMT by By ALASTAIR MACAULAY

Dances by Isadora, an all-female group, performed on the Lawn at Battery Park as part of the Downtown Dance Festival.

Dance: Dancing Locally, Stepping Globally

Posted: August 19th, 2008, 4:58am GMT by By ALASTAIR MACAULAY

The free open-air dance performances in Damrosch Park covered quite a range, deriving from the Ivory Coast, Haiti, Brazil and the Alps — that is, the Alps as rendered by Hollywood.

Dance Review: A Tribute to Islands on the Verge of Vanishing

Posted: August 12th, 2008, 5:17am GMT by By ALASTAIR MACAULAY

Lighting remained dim throughout Lemi Ponifasio’s “Requiem,” and most sequences did the same one thing to the point of tedium.

Dance Review | Morphoses/the Wheeldon Company: Rocky Mountain Mixtape From a High-Flying Troupe

Posted: August 11th, 2008, 3:45am GMT by By ALASTAIR MACAULAY

The Vail International Dance Festival’s enthusiastic, intimate atmosphere maintained the Morphoses dreamlike quality.

Dance: Which Mark Morris Are We Watching?

Posted: August 8th, 2008, 3:22pm GMT by By ALASTAIR MACAULAY

A choreographer’s succinct mixed programs stand in stark contrast to his full-length works.

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Dance Review | Monica Bill Barnes & Company: Dancing to the ‘Jailhouse Rock’ in the Wide-Open Spaces of Sightseer Land

Posted: August 7th, 2008, 4:55am GMT by By ALASTAIR MACAULAY

Monica Bill Barnes & Company put on a site-specific dance performance at the River to River Festival on Tuesday.

Dance Review: Energizing Modern Dance With a Martial-Arts Kick

Posted: August 4th, 2008, 5:38am GMT by By ALASTAIR MACAULAY

Much of DanceBrazil’s performance looked not like real dancing so much as a classroom-type demonstration of bravura technique.

Dance Review | Beacon Event: Walking to and Fro to Eye Dance, Sky and Sculpture

Posted: July 8th, 2008, 4:59am GMT by By ALASTAIR MACAULAY

On Saturday and Sunday the Merce Cunningham Dance Company performed its latest series of site-specific Events here at Dia:Beacon.

Dance Review | 'Romeo and Juliet, on Motifs of Shakespeare': A Peace on Both Your Houses: Lovers Alive and Well

Posted: July 7th, 2008, 2:51am GMT by By ALASTAIR MACAULAY

Nothing in this staging persuades me that either Shakespeare’s play or Prokofiev’s music is the least bit dear to Mark Morris’s heart.

Dance Review: Constantly Evolving Dreamscape

Posted: July 2nd, 2008, 1:59am GMT by By ALASTAIR MACAULAY

Pilobolus’s monthlong season at the Joyce Theater, which began on Monday night, includes works old and new.

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Dance Review | Foofwa d’Imobilité: A Master of Nonchalance in Control of His Illusions

Posted: June 30th, 2008, 4:12am GMT by By ALASTAIR MACAULAY

Foofwa d’Imobilité, even in this minor material, remains the kind of performer to whom I tentatively apply the word “genius.”

Dance Review | New York City Ballet: For a Good Cause: Bits and Pieces and Company Depth

Posted: June 30th, 2008, 3:58am GMT by By ALASTAIR MACAULAY

As a benefit for its Dancers’ Emergency Fund, New York City Ballet presented a one-time-only galalike event, “Dancers’ Choice.”

Dance Review: Walking, Falling and Bouncing Through a Mysterious America

Posted: June 28th, 2008, 6:11am GMT by By ALASTAIR MACAULAY

Mark Morris’s “Excursions for the Piano,” which had its world premiere at Tanglewood on Thursday, makes use of stage space both particular and peculiar.

Dance Review | 'The Prodigal Son': A Balanchine Prodigal Who Inhabits the Journey

Posted: June 10th, 2008, 5:02am GMT by By ALASTAIR MACAULAY

Damian Woetzel’s performance of the title role in Balanchine’s ballet “The Prodigal Son” is worthy of applause.

Dance Review: Riding the Emotions of a Ratmansky Ballet

Posted: May 31st, 2008, 4:24am GMT by By ALASTAIR MACAULAY

As “Concerto DSCH,” the new ballet by Alexei Ratmansky for New York City Ballet, unfolded at its premiere on Thursday, you could feel wave upon wave of emotion sweeping across the audience.

Dance Review: Leaving Terra Firma on Wings of His Own

Posted: May 29th, 2008, 3:49am GMT by By ALASTAIR MACAULAY

Has American ballet ever produced such a male paragon of classical-ballet nobility as David Hallberg?

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Dance: Under Analysis: The Psychology of Tudor’s Ballets

Posted: May 10th, 2008, 1:46am GMT by By ALASTAIR MACAULAY

Performances for Antony Tudor’s centenary will explore repression and denial as well as his steps.

Dance Review | New York City Ballet: Recalling the Standard-Setter of Symphonic Ballet

Posted: May 2nd, 2008, 3:16am GMT by By ALASTAIR MACAULAY

There was joy and wonder to be found in Wednesday’s “Symphonic Balanchine” program at the New York State Theater.

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Dance Review: The Dance Has a Meaning, but That’s Not the Point

Posted: March 29th, 2008, 4:03am GMT by By ALASTAIR MACAULAY

After an absence of some 36 years, Merce Cunningham's “Second Hand” has been revived.

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Dance Review: Shimmy, Spasm, Stamp With Mozart’s Requiem

Posted: March 27th, 2008, 4:15am GMT by By ALASTAIR MACAULAY

In “K626,” which Emanuel Gat's company is presenting at the Joyce Theater, the choreographer is not just setting a Requiem; he’s tackling the most sublime of all composers: Mozart.

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Dance: Mark Morris and Purcell in King Arthur’s Court

Posted: March 12th, 2008, 3:39am GMT by By ALASTAIR MACAULAY

What Mark Morris's “King Arthur” amounts to is a very labored and very flimsy attempt to charm.

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Dance Review: A Season’s Worth of Splashes From Paul Taylor’s Rich Reservoir

Posted: March 11th, 2008, 4:34am GMT by By ALASTAIR MACAULAY

Everything in Paul Taylor's dance theater has its opposite and underside.