Rachel Straus - Dance Writer

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Juilliard Dance

 
Published: February 27, 2019
Category: review

“New Combinations” Signals an Attempt for a New Image

By Rachel Straus, Musical America February 27, 2019

An appropriate subtitle to New York City Ballet’s “New Combinations” program—William Forsythe’s Herman Schmerman (1992), Justin Peck’s Principia (2019), and Kyle Abraham’s The Runaway (2018)—might be “Just Friends.” It’s a theme the company’s team of interim directors is trying to espouse as they seek []

Published: April 21, 2016
Category: review

Miami City Ballet Gets it Right. Mostly

By Rachel Straus

NEW YORK–Miami City Ballet’s gala opening night (April 13), presented by the Joyce Theater at the former New York State Theater, offered what gala opening nights should offer: A taste of a company’s new and old repertoire, a best-foot-forward presentation of its stars and corps, and programming that leaves one hungry for []

Published: October 14, 2015
Category: review

City Ballet Scores a Triumph with New Works

By Rachel Straus

NEW YORK–New York City Ballet commissioned five ballets this season and four of them are compelling. It’s rare for City Ballet, or for that matter any dance company, to present new works that are overwhelmingly impressive. So there was much to celebrate on October 10 at the former New York State Theater []

Published: February 12, 2015
Category: review

Justin Peck's 'Rōdē,ō: What Would Agnes Say?

By Rachel Straus

NEW YORK — It was as if the feisty spirit of Agnes De Mille had cast a wicked spell. De Mille, whose ballet first brought Copland’s Rodeo to life in 1942, would not have looked kindly on Justin Peck’s decision to make an abstract dance on that classic score. And so when []

Published: June 17, 2014
Category: review

Everywhere We Go, We Go Together

NEW YORK–Justin Peck’s Everywhere We Go is a rolling canvas, inhabited by young professional dancers performing at their maximum capacity. Seen May 29 at the former New York State Theater, Peck’s newest work is set to a specially commissioned score by Sufjian Stevens, whose co-orchestrator, Michael B. Atkinson, was on the podium. Stevens’s music []

Published: February 12, 2013
Category: review

At City Ballet, ‘New’ Is Hardly New

By Rachel Straus

NEW YORK — New York City Ballet has become the house of retrospection. Not only because of the Balanchine legacy, but also because some of its newest works are suffused with images of the past, delivering culturally conservative messages. Take Justin Peck’s third City Ballet work, Paz de la Jolla, which premiered []