It is this simplicity that feels too safe in Kim Brandstrup's premiere for New York City Ballet. Jeux reminds you of Kurt Vonnegut's iconic line: "Everything was beautiful and nothing hurt."
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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.
Thatcher had the cheek to venture through the knotty baroque thickets of Bach's "A Musical Offering" and "Goldberg Variations," well trammeled by legendary choreographers.
Myles Thatcher's skills and growing reputation as a promising choreographer have been recognized and honored by the Rolex Mentor and Protégé Arts Initiative.
They're still sweeping up the glitter on the streets of San Francisco.
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