Ballet Hispanico is a mixture of ethnic, ballet, social, jazz - you name it, it's doing it. The company has been going strong for more than 20 years, and you can see why: It may not be refined, but it's full of beans.
Editing requires you to be always open, always responding. It is very important, for example, not to allow yourself to want the writer to write a certain kind of book. Sometimes that's hard.
A steady diet of the higher truths might prove exhausting, but it's important that we acknowledge their validity and celebrate their survival.
'Empty Moves' is elegantly and coolly inventive. Two pairs of dancers shadow each other in slow, deliberate rearrangements and manipulations of legs and torsos, only occasionally switching partners or breaking free of the formal patterning.
You don't have to be a member of the New York Psychoanalytic Institute to figure out that when you title a memoir of your parents 'Them,' you're performing an act of distancing.
Why movie and dance critics are taking 'The Company' seriously, I can't imagine. Are they impressed by Altman's reputation and naive sincerity? By the fluid semi-documentary approach?
Larry Hart and Dick Rodgers were both bright Jewish boys from Manhattan who at one point or another went to Columbia, but there the similarity in their backgrounds ends.
Increasingly, editing means going to lunch. It means editing with a credit card, not with a pencil.
Who would have thought that a tap-dancing penguin would outpoint James Bond at the box office? And deserve to? Not that there's anything wrong with 'Casino Royale.' But 'Happy Feet' - written and directed by George Miller - is a complete charmer, even if, in the way of most family fare, it can't resist straying into the Inspirational.
You may feel that Peter Martins' 'Beauty' is too compressed and inexpressive, but it's loyal to the text.
For Russians, to whom Pushkin's poem 'Eugene Onegin' is sacred text, the ballet's story and personae are as familiar and filled with meaning as, for instance, 'Romeo' and 'Hamlet' are for us. Russians know whole stretches of it by heart, the way we know Shakespeare and Italians know Dante.
I can't remember how many years it's been since I last saw a David Parsons program or what I saw whenever it was, but that isn't surprising, since I can't really remember the first half of a David Parsons program while I'm watching the second half.
Nobody could call the work of Noche Flamenca & Soledad Barrio pallid.
Choreographers, historically, are born, not made - their talents drive them to it.
'Paquita' has a patchy history, beginning in 1846, and a patchy plot.
I have no problem selling ebooks for authors directly as an agent, but partnering with them is another matter.
Paul Taylor's 'Offenbach Overtures' has lots of zip and charm, and its pair of dueling soldiers in red, who end up starry-eyed about each other while their disgusted seconds take up the quarrel, is nonstop funny.
Writing happened to me. I didn't decide to start writing or to be a writer. I never wanted to be a writer.
Dickens was born in 1812 and died in 1870, having produced fifteen novels, many of which can confidently be called great, as well as having accomplished outstanding work in activities into which his insatiable need to expend his vast energies - to achieve, to prevail - carried him: journalism, editing, acting, social reform.
Classics are constantly being re-imagined and transformed, and the originals are none the worse for it; they endure.
The best seat in the house often depends on the ballet. For instance, much of the first act of 'The Nutcracker' is domestic and small scale, so it's great to sit up close. But the second act features elaborate scenery and choreography, which are better to observe from a distance.
After all these years of saying the same thing about the Alvin Ailey company - terrific dancers, awful repertory - I'm finally accepting the inevitable: I'm not going to change my mind, and they're not going to change their ways. And why should they, given their juggernaut success all over the world?
As for the once-revolutionary 'Agon,' after more than half a century, its lessons and revelations have been so absorbed into the language of ballet that it now seems almost conventional.
Ballet companies have their ups and downs, just like the rest of us.
Many people say to me, particularly about my dance writing, 'It sounds just like you.' But it sounds just like me after I've made it sound like me.
Dance Theatre of Harlem has done a lot of good things well, a lot of good things badly, and a lot of bad things - it doesn't matter how.
'Ocean's Kingdom' is a fairy story with no subtext, no resonance - it's not about anything except its water-logged plot.
Editing is simply the application of the common sense of any good reader. That's why, to be an editor, you have to be a reader. It's the number one qualification.
Ballet in September used to be dead as a dodo. Now, with City Ballet's ingenious decision to give us four weeks of repertory in the early fall, having cut down on the relentlessly long spring season when dancers, critics and audiences droop on the vine, we wake up after the dog days of August with something to look at.
'Porgy and Bess' has never been thought of as a dance show, and yet it's filled with dance. It uses dance to punctuate the action, or as background, or as atmosphere; even when it's front and center, it isn't crucial.
In Georgia, apparently, men are men and women are women - at least in their folk dance.
The eternal and uneasy relationship between ballet and modern dance endures, but radically altered in tone and intensity.
You can approach 'The Nutshell Studies of Unexplained Death' in a variety or combination of ways: as a startlingly eccentric hobby; as a series of unresolved murder mysteries; as the manifestation of one woman's peculiar psychic life; as a lesson in forensics; as a metaphor for the fate of women; as a photographic study.
With its vastly complicated plot and its immense cast of characters swirling around the case of Jarndyce vs. Jarndyce that has been grinding away in the Court of Chancery for decades, 'Bleak House' is, for many readers, Dickens's greatest novel.
We all need each other in publishing to make publishing work for authors in a variety of formats now and in the future. Anyone who thinks publishers don't bring anything to the table has a very narrow view and lack of knowledge about the industry as a whole.
It's always fascinating - and sometimes a little disquieting - when two first-rate critics violently disagree.
'A Midsummer Night's Dream' is one of George Balanchine's greatest creations - and one of the greatest of all story ballets.
Without a Prospero-Caliban relationship to balance the Prospero-Ariel one, 'The Tempest' loses much of its resonance.
The 1920s brought not only the Charleston but the flat chest.
'River of Light,' to a dense but powerful score commissioned from Charles Wuorinen and with ravishing lighting by Mark Stanley, has depth and resonance.
Of the great singing stars of the 1940s and '50s, only one - Nat King Cole - died young, at age 45.
I can't claim to 'understand' 'Byzantium,' if any dance work can be 'understood,' but whenever I see it, I sense that it's charged with meaning.
Twyla Tharp is not going to take orders from anyone, not even Mozart!
Remember: TV is a format, film is a format, and books are a format.
'Beloved Renegade' is a meditation on Walt Whitman, on tenderness, on dying.