Of war and quarantine: Fall for Dance opens in New York

Anastasiia Shevchenko and Daniil Pashchuk in Alexei Ratmansky's Wartime Elegy

Natalia Matsak and Sergii Kryvokon in Alexei Ratmansky's Wartime Elegy

Gallim in Andrea Miller's SAMA

Aran Bell in Tiler Peck's Piano Songs

By Carla Escoda, 20 September 2024

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“the significance of this work, and of who was performing it, was not lost on anyone in the theater”

Reviewed at New York City Center, New York City on 19 September 2024

Wartime Elegy (Alexei Ratmansky)

Piano Songs (Tiler Peck)

Sama (Andrea Miller)

National Ballet of Ukraine

Aran Bell, Dancer

Gallim Dance

American Ballet Theatre's double bill is short and sweet in New York

Ivy Lin, 15th March

American Ballet Theatre presents Balanchine's Raymonda: Grand Pas Hongrois and Ratmansky's Firebird which showcases the company well and provides a strong contrast.

****1

A spectacular triple bill lifts ABT’s spring season in New York

Leigh Donlan, 13th March

A finely curated triple bill from American Ballet Theatre included works from Balanchine, Jiří Kylián and Alexei Ratmansky.

****1

NYCB: Ratmansky’s The Naked King is not satire, but good fun

Ivy Lin, 7th February

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.

****1

NYCB: Balanchine + Ratmansky program warms the audience

Ivy Lin, 20th January

NYCB has a winning triple bill with its Balanchine + Ratmansky program. Excellent dancing and contrasting works sends the audience home in buoyant mood.

*****

Dutch National Ballet's opener in New York: meandering and unfocused

Ivy Lin, 20th November

Dutch National Ballet returning to New York after more than 40 years should have been thrilling. The opening program, whilst beautifully danced, was somewhat muted.

***11

London City Ballet at the Linbury: joy and sorrow at its best

Deborah Weiss, 19th November

London City Ballet move into a new venue with absolute confidence and gravitas in a quadruple bill that says everything about their future and success.

*****

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Carla Escoda

Born in the Philippines, Carla trained as a ballet and modern dancer with the Alice Reyes Dance Company in Manila. She has lived and worked in Asia and the U.S. and has written about the arts for Bachtrack, KQED (the northern California public media broadcaster), Dance International, dance journal/hk, the Huffington Post, Dance Europe and ballettothepeople.