It was a lazy Saturday afternoon in Chelsea. Wanderers traipsed across the High Line, stealing light from the sun and embracing summer with selfies and gelato. Underneath them and a few streets east, crowds ventured into the Joyce, the heat outside prompting a soft malaise among them.
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.
This is an extraordinary time in the dance world, when five of the greatest ballerinas of our time, from leading American ballet companies, have, coincidentally, all announced their retirement within months of each other.
Philanthropists and visionary entrepreneurs must sustain companies which will allow brilliant choreographers like Beamish to create their body of work without distraction. This type of support is a necessary step to creating The Coming Golden Age of Fine Art.
Tears, flowers and an outpouring of love accompanied Wendy Whelan's farewell performance at the New York City Ballet on Saturday, October 18. Many of us would call the NYCB the greatest ballet company in the world, and, so, we collectively mourn the loss of its reining queen.
Wendy Whelan, the much beloved principal dancer for New York City Ballet, is already a legend. Her career has spanned an astonishing 29 years during which she has done pretty much everything imaginable.
After years of photographing and filming performances and rehearsals, Nel and I believe in the power of great dance documentation, but nothing compares to seeing Wendy Whelan perform live. She is captivating, enthralling, alluring -- I just can't describe how I feel when I watch her dance.
The women we look up to in the arts -- from New York City Ballet's Wendy Whelan soaring above the stage at Lincoln Center to action hero Elizabeth Streb scaling a building in London -- have their own inspiring heroines, some famous and others less known.
The New York State Theater at Lincoln Center, home of the New York City Opera, is dark as it undergoes a year of renovation. It is a house of past and perhaps future artistic importance in two art forms.
I had a wonderful night at New York City Ballet the other night. The program, titled "Here and Now", focused on some of the company's newest works, and was kind of a celebration of the future, of 21st Century ballet.