Hopefully, Martha Ulman West will cover it for Dance Mag or elsewhere...Stowell really deserves (and needs) a professional critic's eye on his work.
Majority of it a rather well worn (at this point) analysis of the difference between Canfield & Stowell. Here's an interesting excerpt:
the brash looseness of his [Canfield's] pieces encouraged his dancers to develop and express their own personalities. He created specifically for them, an intoxicating gift to offer people ordinarily regarded as interpreters of other artists' dreams.
Although Stowell's first season will include a couple of premieres, he is asking something very different. He wants his dancers to invest in the classics, submit to patterns that have been set, and then discover what's fresh and exciting about them. You couldn't ask for a bigger flip-flop. Will the dancers bring as much enthusiasm to revivifying the past as they did to creating the present? And will audiences miss the car-crash fascination of watching ballet collide with contemporary pop culture?
My quick and easy answer to this is: No, because even a car crash becomes boring by the fifth time. (Ever been to a Demolition Derby?) Also, it is clear now that the dancing is going to be of a higher quality. I also am pretty sure that Stowell will be continuing to work with new choreographers. Julia Adam is on her way to Portland. There will be much, one hopes, to be fascinated by.
Maybe three years from now I'll grow a bit nostalgic for the Canfield era, but that would only be if Stowell steered OBT into nothing but White Ballets and Petipa.
Not much chance of that.