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Tiler Peck
Everything that Tiler Peck presented last weekend at City Center, as dancer, choreographer, and curator, was a first of one sort or another, two New York premieres, one live premiere, and a world premiere. She is brilliant, and the achievement was exhilarating. The world premiere of Time Spell was the crowd-pleaser, a mad mix-and-match of…
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Miss Julie
I think that I have never seen a Miss Julie quite like Chulpan Khamatova’s. It’s not just that Thomas Ostermeier, the director, and Mikhail Durnenkov, the adapter, have updated and transposed Strindberg’s 1888 original, making Julie the spoiled daughter of a Russian general rather than a Swedish count, the celebration of New Year’s instead of…
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Havana Rakatan
After the intermission, HAVANA RAKATAN moves inside, from the streets and waterfront locations evoked in the first act to a scenography of nightclubs and theatrical shows. It seems, suddenly and counter-intuitively, more authentic than it did before. Colorfully dressed farmers and urban workers, dancing in celebration of weddings, harvests, fiestas, might seem, on the surface,…
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The Maids
From the moment I saw Alice Babidge’s design for Jean Genet’s THE MAIDS, I knew I would feel differently about this, the third Cate Blanchett import I have seen from the Sydney Theatre Company. It has the virtue of being spare and sumptuous at the same time and makes no distinction between costume and décor.…
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Moses in Egypt
With the parting of the red curtain last week at City Center, The New York City Opera returned home from its long exile to Lincoln Center and other venues. The music to Rossini’s MOSES IN EGYPT is lovely, and among the performers Sian Davies as Elcia and Wayne Tiggs as Pharoah made a particularly strong…