American - Writer | April 29, 1931 -
'River of Light,' to a dense but powerful score commissioned from Charles Wuorinen and with ravishing lighting by Mark Stanley, has depth and resonance.
Robert Gottlieb
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After all these years of saying the same thing about the Alvin Ailey company - terrific dancers, awful repertory - I'm finally accepting the inevitable: I'm not going to change my mind, and they're not going to change their ways. And why should they, given their juggernaut success all over the world?
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'The Leaves Are Fading' had something of a vogue when Antony Tudor made it in 1975, largely because of Gelsey Kirkland's ravishing performance.
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Once, Pina Bausch was about something, however disagreeable.
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As for the once-revolutionary 'Agon,' after more than half a century, its lessons and revelations have been so absorbed into the language of ballet that it now seems almost conventional.
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Jodi Melnick is hotly self-absorbed. Her onstage musicians are much too loud, and like so many narcissistic performers, she goes on much too long: She's interested in herself; why wouldn't we be?
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'Eclipse' is a concept piece, and its concept centers on 36 large light bulbs strung from above in a geometrical pattern and at different heights, some of them at times down below the dancers' chest level.
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Diana Vishneva is not only a magnificent dancer but a magnificent actress - no one works harder or understands more.
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Wayne McGregor's 'Dyad 1929' is a good example of this capable British choreographer's work.
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For Russians, to whom Pushkin's poem 'Eugene Onegin' is sacred text, the ballet's story and personae are as familiar and filled with meaning as, for instance, 'Romeo' and 'Hamlet' are for us. Russians know whole stretches of it by heart, the way we know Shakespeare and Italians know Dante.
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Every great dance company, even when it seems poised in perfect balance, needs constant renewal of both repertory and performers.
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Just as I was turning fifteen, in the spring of 1946, my parents took me to see 'The Glass Menagerie,' well into its year-long run. I had seen a number of shows on Broadway by then, but nothing like this - because there was nothing like this on Broadway.
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