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Young and old

Mark Morris at Tanglewood
The presence of company veterans infuses Mark Morris Dance Group with a maturity that both grounded and lifted this presentation to a higher plane.

By: JANINE PARKER | July 02, 2008

Rite of darkness

Heddy Maalem’s Sacre
Le Sacre du Printemps , with 14 dancers hailing from Senegal, Togo, Benin, Mali, Nigeria, and Mozambique, takes on black-on-black violence .

By: DEBRA CASH | July 03, 2008

Tharp’s Rabbit and Rogue at ABT, Ratmansky and Robbins at NYCB
Tharp’s dances almost invariably have a euphoric effect on their first audiences, even when they miss their mark and don’t hold up over the long run.

By: MARCIA B. SIEGEL | June 10, 2008

Dido's fate

Mark Morris at the Majestic
Henry Purcell might not have approved Mark Morris’s contemporary take on Dido and Aeneas, but he probably would have recognized it for its formality and anti-naturalism.

By: MARCIA B. SIEGEL | June 03, 2008

Altar and ego

Mark Morris’s Dido and Aeneas
Mark Morris’s Dido and Aeneas

By: JEFFREY GANTZ | January 30, 2009

Where the chips fell

Marjorie Morgan, Karl Cronin, Lucinda Childs, and Boston Ballet
Dance history reverberated across Boston during the past few weeks, affirming that how we live now owes a lot to how we’ve chosen to remember — and forget.

By: MARCIA B. SIEGEL | May 28, 2008

Russian revel?

Looking ahead to Ballets Russes 2009
The Russians are coming!

By: JEFFREY GANTZ | May 23, 2008

What's left behind

Tap Olé at the Regent, Rachid Ouramdane at the ICA, Prometheus at Boston Conservatory
Tap Olé is less a new-fangled bicultural fusion than a return to tap dancing’s foundational swingtime.

By: DEBRA CASH | May 21, 2008

Maestro!

Interview: Mark Morris picks up the baton
Next week, the Celebrity Series of Boston brings back Mark Morris’s dance setting of Henry Purcell’s 17th-century English opera Dido and Aeneas .

By: LLOYD SCHWARTZ | May 19, 2008

Mastering the masterpieces

Boston Ballet takes on Balanchine, Tudor, and Tharp
It’s not exactly a trip down Memory Lane, but this weekend Boston Ballet is revisiting some pieces and choreographers it hasn’t performed in the Mikko Nissinen era.

By: JEFFREY GANTZ | May 21, 2008

Balancing act

Interview: Mikko Nissinen and Boston Ballet
It’s been quite a year for Boston Ballet.

By: JEFFREY GANTZ | May 14, 2008

Combat and rain

Nai-Ni Chen at John Hancock Hall
Taiwanese choreographer Nai-Ni Chen danced with Cloud Gate Dance Theater before moving to New York in 1982, and her work, like theirs, is a suave amalgam of traditional Chinese elements and modern dance.

By: MARCIA B. SIEGEL | May 13, 2008

Drama manqué

Leine & Roebana at the ICA, Contrapose at Green Street
Sporen , by the Dutch company Leine & Roebana, had two false beginnings before settling down to an hour of movement exploration.

By: MARCIA B. SIEGEL | May 12, 2008

Big pond, little pond

Swan Lake in Boston and Providence
Swan Lake is ballet’s prima ballerina because, 131 years after its Moscow premiere, it’s still poised on pointe.

By: JEFFREY GANTZ | May 07, 2008

The curatorial eye

Daniel McCusker’s ‘tHisTHat’
Never merely illustrative, their unity seemed like the very source of Heaven.

By: DEBRA CASH | April 28, 2008

Oppositions

The Kirov's Balanchine at City Center
The end of a three-week, thousands-of-miles-from-home season is never the right time to assess a dance company.

By: JEFFREY GANTZ | January 30, 2009

Fusion forms

Lorraine Chapman, Kinodance, Black Grace
Modern dancers who aren’t tethered to a specific technique can forage the whole world for useful movement and effects. We saw three completely different examples recently.

By: MARCIA B. SIEGEL | April 23, 2008

Sleeper

The Russian National Ballet’s Beauty
The Sleeping Beauty that I saw Sunday afternoon was better than that Swan Lake , but at a top price of $85 in a town with one of America’s best ballet companies, these visits remain a dodgy proposition.

By: JEFFREY GANTZ | April 09, 2008

Scenes from the city

The Kirov at City Center, plus Jerome Robbins, Stephen Petronio, and Cloud Gate
I missed more things in two and a half days last week than I managed to take in, so whatever I might infer about dance in the New York vortex could have come out a different way if I’d reversed my priorities.

By: MARCIA B. SIEGEL | April 08, 2008

Gambits in repertory

Ohad Naharin’s Minus One
Ohad Naharin’s Minus One isn’t a single piece of choreography.

By: MARCIA B. SIEGEL | April 02, 2008

Pas de divorce

Opera House captures Boston Ballet’s heart
It’s been a roller-coaster six weeks at Boston Ballet.

By: JEFFREY GANTZ | April 02, 2008

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