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NYCB: Ratmansky’s The Naked King is not satire, but good fun
New York City Ballet presents a very entertaining quadruple bill which includes Alexei Ratmansky’s latest work, The Naked King, showing off the company’s comic talents.
Few signs of heat in a mixed bill at New York City Ballet
New York City Ballet offered a few exhilarating moments in a mishmash of a program from the company with arguably the greatest rep in the world.
NYCB's Sara Mearns charts her next act?
New York City Ballet's Sara Mearns proves that she is a natural contemporary dancer in a self-curated double bill.
NYCB: Ballets that dance themselves?
The final performance at NYCB’s fall season was the best one. One has to have just pure admiration for this company, its dancers, its history, its future.
NYCB: 75th anniversary program is an appealing, popular nod to history
New York City Ballet marked its 75th anniversary with the same triple bill that caused so much excitement at City Center in 1948: Orpheus, Concerto Barocco and Symphony in C.
NYCB: All Balanchine III proves a little uneven with casting
NYCB give first rate accounts of the first and last ballets but the filler suffered from miscasting and lack of chemistry.