Revivals and Renewals
for The Hudson Review
In my latest essay for The Hudson Review, I explore what it means when ballets—and the knowledge embedded within them—are passed from one generation to the next. I write about Dance Theatre of Harlem's revival of John Taras and Geoffrey Holder's Firebird, after many years; and the transmission of Balanchine's musicality through coaching sessions for Donizetti Variations by the Balanchine Foundation. As well as about Tiler Peck's ambitious new ballet for NYCB, Concerto for Two Pianos; and Christopher Wheeldon's a Continuum, which had its company premiere last season.
In the Summer issue of The Hudson Review.
Photos by Rachel Papo.
Marina, I hope you never stop writing about dance. I always learn from your essays and posts and am grateful to find your comments in several places (not enough in the NYT, where arts coverage is diminishing rapidly). These long, thoughtful pieces in the Hudson Review are a gift to dance lovers. Thank you!