Alastair Macaulay @ NY Times
Posted 21 February 2007 - 07:04 AM
Posted 21 February 2007 - 09:29 AM
Yes, but he was a music critic, not a dance critic, hence the implied "outsider" status--not from New York, but from dance.
Posted 21 February 2007 - 11:56 AM
It's possible that, considering the depth of insider knowledge that the rest of the Times' dance writers have, bringing in a relative outsider to the NYC dance community could be a form of balancing the points of view.
Posted 21 February 2007 - 12:04 PM
Posted 26 February 2007 - 09:33 PM
Thanks for the link -- I'd lost track of that particular conversation.
Posted 31 March 2007 - 01:21 PM
Posted 01 April 2007 - 04:12 PM
Posted 01 April 2007 - 04:44 PM
While I've always disliked R&J (the episodic score forces too many boring crowd/sword scenes), it is a great star vehicle. Certainly Macaulay takes a star-oriented perspective in his article. I wonder how he'll respond to Peter Martins's non-star production (although SAB students really are often stars...), and to other ballets of more choreographic substance (perhaps his Four Temps remarks are a promising clue)?
Nothing in “The Four Temperaments” was narrative, but all of it was dramatic, and nothing I had ever seen in any theater had been of such power. This wasn’t sexy; it was too volcanic for that. Some 28 years later I am still haunted by the memory of the bellowslike alternation of through-the-body convex and concave shapes made by Bart Cook’s Melancholic and Merrill Ashley’s Sanguinic.
At the least, I will be anxiously awaiting his reviews in the Times, and I cannot remember that ever being true before...
Posted 01 April 2007 - 05:49 PM
Posted 01 April 2007 - 06:18 PM
Posted 01 April 2007 - 10:54 PM
A practical first shot: to cause an effort by Bart Cook and Merrill Ashley to put on a Four Temperments like the one they danced 28 years ago.
Bringing Back Balanchine.
Posted 02 April 2007 - 06:43 AM
I'd also put a vote in for more NYT coverage of serious ballet throughout North America -- especially by its new senior critic.
The US and Canada are blessed in having a large, intricate ballet culture and institutions. These spread all the way down to local schools in the Carolinas or the NorthWest, and includes companies in Winnepeg or Miami or Arizona that do superb work under very difficult conditions and with little in the way of national attention.
Ballet in North America is structured like a pyramid. NYCB, ABT and NBofC may be at the apex. But every pyramid needs a strong base. The NYT, which aspires to be a truly "national" newspaper, needs give serious attention to that base. It can do this by reviewing more work and artists in parts of other country, and by putting more effort into documenting the rich cross-fertilization of dancers, choreographers, works, and influences from bottom-to-top as well as top-to-bottom.
Posted 02 April 2007 - 07:08 AM
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