You want to celebrate an artist who, after such a long and storied career, has no interest in a mere retrospective. It might have been fun -- for the audience -- to see historic dances like "Tank Dive" and old favorites too numerous to mention.
The New York City Ballet has returned with all its relevance, strong and modern. The dancers are not "stingy." They are not "holding back." They exist in the "now," "right now." Balanchine would be proud.
"When I was very young, back in Hungary in the ballet school, my teacher showed us a VHS with Julie Kent," Zoltan Boros, a dancer with Columbia Classical Ballet, said. "I didn't know her, and I didn't know much about ballet ( I was around 12), but I still remember how amazing she was."
Nearly a decade in the works, American Masters - American Ballet Theatre: A History feels more like an eccentric personal meditation, or a love letter to the art form, than a historical trek through the company's 75 storied years.
Don't get me wrong, there's no problem with being a sex worker, or a wife, or a ballerina, or a heiress if you so choose. But what the female protagonists and antagonists in Gigi and An American in Paris lack is agency in their happily ever afters.
Luke appeared as the Nutcracker Prince in this season's opening night performance of the Tchaikovsky favorite. Yuan Yuan Tan joined him in the brilliant Grand Pas de Deux of Act II. The duo proved dynamic. "I'm at the stage where I still really enjoy doing Nutcracker," he said.
Move over, Blue Man Group! New York City has got another spectacular nonstop men-only attraction landing on its West Side shores. The Council of Fashion Designers of America (CFDA) is launching New York Fashion Week: Men's.
Two super stars of the stage -- ballet icon Mikhail Baryshnikov and actor Willem Dafoe -- in a fantastical, almost two-hour pas de deux, performed under the direction of gay theater genius Robert Wilson.
Last week's premiere at San Francisco Ballet proved to be an all-around artistic feat - again for Ratmansky, for the entire company of San Francisco Ballet and, yes, for Shostakovich who had not penned these compositions for the ballet stage.
Marga Gomez is back at The Marsh with a new one-woman show (her 10th). Unlike previous monologues which were primarily autobiographical, Lovebirds is a beautifully written piece of fiction whose protagonist is a photographer named Polaroid Phillie.
Any tale of love by Anton Chekhov is bound to be a sad tale. Adapt them for the stage and present them with grace, invention and deep humanity, as Mikhail Baryshnikov and a small company of actor-dancers are doing in Man in a Case, and sadness assumes an unusually compelling allure.
Snowden, like Elvis has left the building. Please let's not disgrace ourselves further by behaving like spoiled sports. We have important topics to address. Climate change effects mitigation, jobs creation, et cetera.