Posts filtered by tags: Alastair Macaulay[x]


Alastair Macaulay Remembers Jacques d’Amboise

His charm was colossal and effortless, his love for many people effusive and happy. I keep coming across poems and messages he sent me. They were signed “Your Jacques.” How lucky was I? Everyone who knew him has similar tales to tell. How lucky were we. – Alastair Macaulay
Tags: Art, Dance, Alastair Macaulay, Jacques d'Amboise, 05.04.21

How Merce Cunningham Made The Judson Dance Theater Revolution Possible

Yvonne Rainer, David Gordon, Steve Paxton, Lucinda Childs, and Deborah Hay tell Alastair Macaulay what they learned from Cunningham that enabled them to transform modern dance. – The New York Times
Tags: Art, Dance, Cunningham, Merce Cunningham, Alastair Macaulay, Deborah Hay, 05.10.19

Suzanne Farrell Back At City Ballet – What It Means

Alastair Macaulay: “What makes Ms. Farrell so important? Her place in Balanchine history is central: She inspired him to make some of his most radically modernist works; opened up fresh torrents of Romanticism in him; showed how old roles could be transformed. She combined grandeur, musicality, wit, fervor and acumen to phenomenal degrees.” – The New York Times
Tags: Art, Dance, Farrell, Balanchine, Suzanne Farrell, City Ballet, Alastair Macaulay, 04.23.19

Treasures From The World’s Largest Archive Of Dance Materials

That would be none other than the New York Public Library for the Performing Arts. “It regularly films dance productions in the city, preserving the present for the future; it aims to have a copy of every dance book ever published; it possesses treasures going back centuries. And its doors are open to the public as well as to specialist researchers.” Alastair Macaulay looks at a few of its gems, from a 1453 treatise to 1933 films of Balinese dance. — The New York Times
Tags: Art, World, Dance, New York Public Library, Alastair Macaulay, 02.07.19

Alastair Macaulay Takes Issue With Dance Magazine Over 180-Degree Leg Lifts Story

The newly-retired dance critic of The New York Times wrote an actual letter to the editor saying that, while he quite liked Emma Sandall’s article this week about the history of high leg lifts in ballet, there were a few historical assertions in it that he takes issue with. — Dance Magazine
Tags: Art, Dance, The New York Times, Alastair Macaulay, Emma Sandall, 01.10.19

New York Times Dance Critic Alastair Macaulay’s Farewell Column

“There have been breakthroughs and positive changes in the dance climate this century. They’ve made me happy. Yet, Cassandra-like, I foresee ills ahead. … We’ve now entered a Silver Age, in which theatrical dance is a less radically creative art than before. Where once choreographers forged their dance language, now they tweak within lexicons they have inherited from others.” — The New York Times
Tags: Art, Uncategorized, Cassandra, Alastair Macaulay, New York Times Dance, 12.27.18

Critic’s Notebook: Hail, Dance, and Farewell to the Critic’s Life

Our departing chief dance critic, Alastair Macaulay, looks back on his tenure: the dance he has reviewed, and the scene today.
Tags: News, Dancing, Richard, Alston, Liz, Mark, Morris, Justin, Cunningham, Peck, New York City Ballet, American Ballet Theater, Gerring, Baryshnikov Arts Center, Alastair Macaulay, Naharin

For His Final New York Times Dance Review, Alastair Macaulay Goes To Staten Island

And if that’s not surprising enough, he chose as his subject a local Nutcracker. Why? Well, in Europe he grew quite tired of the Christmas chestnut, but over here, “Nutcrackering became for me — a British dance critic working in New York since 2007 — a happy way to discover America.” — The New York Times
Tags: Art, Europe, New York, America, Dance, Staten Island, Alastair Macaulay, 12.24.18, New York Times Dance

For His Final NYT Dance Review, Alastair Macaulay Goes To Staten Island

And if that’s not surprising enough, he chose as his subject a local Nutcracker. Why? Well, in Europe he grew quite tired of the Christmas chestnut, but over here, “Nutcrackering became for me — a British dance critic working in New York since 2007 — a happy way to discover America.” — The New York Times
Tags: Art, Europe, New York, America, Dance, Staten Island, Alastair Macaulay, 12.24.18

NYT Dance Critic Alastair Macaulay Gives His First Exit Interview

“Q: Did you ever write something that you later regretted or reconsidered? A: I’m not complacent. I regret commas, adjectives, clumsy turns of phrase, even if nobody else is bothered by them. Worse, I’m dismayed by the factual inaccuracies I’ve committed. Opinions I regret less. So what if you hated the world premiere of The Rite of Spring or Waiting for Godot? Those are tough pieces that are easy to misunderstand even now.”
Tags: Art, Dance, Alastair Macaulay, 10.31.18

Is American Ballet Theatre Trying To Do Too Much? (And Not Enough?)

Alastair Macaulay: “How many admirable policies can any company honor at one time? Currently it looks as if Ballet Theater has discarded Fokine, Ashton, Tudor, and — a big departure — the international stars from its scheduling. And who can notice Ballet Theater’s admirable purity of classical style? Its too-many-cooks approach to ballet obscures that.”
Tags: Art, Dance, Ballet Theater, Alastair Macaulay, 10.21.18, Fokine Ashton Tudor

NYT Dance Critic Alastair Macaulay To Retire

For some time now, Alastair — who celebrated 40 years of reviewing this May — has wanted to spend more time in Britain, his home country; scale back on his daily reviewing responsibilities; and work on a variety of projects, including teaching and lecturing at Juilliard, the 92 Street Y and City Center, and a research fellowship with the Center for Ballet and the Arts.
Tags: Art, Dance, Britain, Alastair, City Center, Juilliard, Alastair Macaulay, Center for Ballet, 09.21.18

Chief Development Officer, Miami City Ballet

The prestigious and internationally acclaimed Miami City Ballet seeks a Chief Development Officer to establish a best-in-class fundraising operation, advance the development strategies of the company, and achieve sustainable growth. DHR International has been exclusively retained to conduct a search for the Chief Development Officer for Miami City Ballet. THE COMPANY: Miami City Ballet (MCB), founded in 1985, is universally admired as one of the world’s preeminent interpreters of the choreograph...
Tags: Art, Asia, Europe, New York, London, Jobs, New York City, Los Angeles, CMO, Indiana, Chicago, United States, Tennessee, New York Times, Paris, Middle East

Two Seconds That Explain George Balanchine (Brought To You By Alastair Macaulay)

"In George Balanchine's Concerto Barocco, nobody dies, nobody falls to the ground, nobody falls in love. The only set is the sky-blue backdrop. The women's costumes, minimal, are white tunics. Yet much does happen. A group of women becomes a vision of pulsating classicism and of gleaming American energy."
Tags: Art, Dance, George Balanchine, Alastair Macaulay, 04.24.18

Executive Director - Miami City Ballet

The prestigious and internationally acclaimed Miami City Ballet seeks an Executive Director to partner with the Artistic Director and the Board in setting the overall vision and strategy for the company and ensuring its sustained success. DHR International has been exclusively retained to conduct the search for Executive Director of Miami City Ballet. POSITION TITLE: Executive Director REPORTING TO: Board of Directors through the Chair Both Artistic Director and Executive Director report to the ...
Tags: Art, Jobs, Americas, US, New York Times, Paris, Miami, South America, Lincoln Center, Nutcracker, Board, South Florida, West Palm Beach, Koch, Jacobs, Miami Beach

Could Peter Martins's Departure Change How New York City Ballet Is Run?

George Balanchine set up a uniquely concentrated model of artistic leadership at his company: he choreographed, taught, coached roles, and controlled artistic policy. Peter Martins continued that model (even if he ultimately delegated choreographing duties after his own efforts fell flat). Now that Martins has resigned, Alastair Macaulay wonders if it's time to change that […]
Tags: Art, Dance, New York City Ballet, Martins, George Balanchine, Alastair Macaulay, Peter Martins, 01.02.18

Ten Ways To Tell If Your 'Nutcracker' Is Traditional (And They're Not Necessarily The Ways You Think)

As Alastair Macaulay points out, changes to the original Tchaikovsky/Petipa scenario have been made ever since the ballet's 1892 premiere. "Many people crave a traditional Nutcracker, often the one they grew up with. But frequently it turns out that their notion of Nutcracker tradition goes back only to the mid-20th century. ... So here are […]
Tags: Art, Dance, Alastair Macaulay, 11.21.17, Tchaikovsky Petipa

The Ballerina Who Can 'Suspend Time Altogether' - Alastair Macaulay On NY City Ballet's Tiler Peck

"Most of us, most of our days, are subject to time. We follow calendars and clocks like slaves. Great dancers, however, seem to govern time, to find and possess it without haste and even, for moments, to suspend it altogether. The music's pulse runs on apace; but they pack every measure with important-seeming activity, now […]
Tags: Art, Dance, Tiler Peck, Alastair Macaulay, 07.24.17, NY City Ballet

Ballet's rape problem.

Siobhan Burkemay, writing in the NYT, is fed up with the "sleek, unexamined images of violence against women" that are "pervasive in contemporary ballet."By “images of violence against women,” I mean not just depictions of violent acts but also the kind of forceful partnering that’s become so ubiquitous, so gratuitous, so banal in ballet — the yanking, dragging, prying open of women’s bodies by men — both with and without a narrative pretext....Men lifting, turning, supporting women — it’s part ...
Tags: Law, Dancing, Rape, Ann Althouse, Alastair Macaulay, Siobhan Burkemay

A Woman Takes Over From A Man In New York City Ballet's First Gender-Neutral Role - How's It Working Out?

Justin Peck selected his old friend (and company star) Robert Fairchild to dance the lead in the premiere run of his The Times Are Racing. But he conceived it as a unisex part, and he chose Ashly Isaacs to take over from Fairchild for the current season. Alastair Macaulay reports on how she looks in […]
Tags: Art, Dance, New York City Ballet, Justin Peck, Robert Fairchild, Alastair Macaulay, 05.10.17, Ashly Isaacs

Merce Cunningham Is Now Fodder For Art Museums

"No choreographer in history has so naturally prompted museum exhibitions as Merce Cunningham. For more than 65 years, his form of radical dance theater was a vehicle for historic artistic experimentation, with brave breakthroughs of color, idiom, content." Alastair Macaulay visit the new (and large) Merce exhibit at the Walker Art Center in Minneapolis.
Tags: Art, Dance, Audience, Walker Art Center, Merce Cunningham, Alastair Macaulay, Art Museums, 02.14.17, Merce

Alastair Macaulay Does An Exegesis Of The Sugar Plum Fairy

"People who've never been to any ballet, let alone The Nutcracker, have heard of her. Yet who is she? And why does she dance?"
Tags: Art, Dance, Alastair Macaulay

Why Balanchine’s ‘Jewels’ Makes The Perfect Introduction To Ballet

Alastair Macaulay: “Nobody can miss how vividly different its stage worlds are: the green romantic medieval French forest of ‘Emeralds’ (music by Fauré); the red Modernist high-energy American urban world of ‘Rubies’ (Stravinsky); the wintry white (both snowscape and palace) grand imperial Russian classicism of ‘Diamonds’ (Tchaikovsky). What other artist could conjure these three dissimilar […]
Tags: Art, Dance, Audience, Stravinsky, Faure, Balanchine, Alastair Macaulay

Balanchine’s ‘Divertimento No. 15’ – Alastair Macaulay Does The Arithmetic

“Three men to partner five women! … I’ve often wondered if the name Divertimento No. 15 gave him the idea: 15 = 5 x 3, a kind of numerical pun. Having eight principals (5 + 3), he matches them with a corps of eight women. As you watch the changing corps patterns, Balanchine shows how […]
Tags: Art, Dance, Balanchine, Alastair Macaulay

The missing scholarship of American tap dance

Tap dance, our first American vernacular dance form, and the most-cutting edge on the national and international stage, has suffered a paucity of critical, analytical, historical documentation. While there have been star-centered biographies of such tap dancers as Bill Robinson, Fred Astaire, and Savion Glover, there remains but a handful of histories exploring all aspects of the intricate musical exchange of Afro-Irish percussive step dances that produced the rhythmic complexities of jazz tap d...
Tags: Books, India, US, America, New York Times, Cbs, Savion Glover, Library Of Congress, Caribbean, Marshall, Gene Kelly, Fred Astaire, *Featured, Theatre & Dance, Joan Acocella, Nanette