Lauren Lovette: a New York City Ballet Juliet that makes you think differently

Lauren Lovette as Juliet in Peter Martins' Romeo + Juliet'.  Photo © Paul Kolnik

“In 2011, I wrote that Lauren Lovette, then still in her first year in the corps, would be a natural Juliet, with Chase Finlay, then a newly-promoted soloist, as her Romeo. On Saturday afternoon, in her first full-length role, she debuted in the role. Her Romeo, also in his role debut, was Finlay. I should always be so prescient.”

Read more about what Jerry Hochman though at “remarkable debut – for both of them. And a remarkable afternoon for the NYCB audience, which braved the chill and the forecast of a significant snowstorm to fill practically every seat in the house.”


ARB's Shaye Firer (Titania in 'A Midsummer Night's Dream') and Marc St-Pierre. Photo © Leighton Chen

On American Repertory Ballet and telling the human story of ‘A Midsummer Night’s Dream’

CriticalDance talks to American Repertory Ballet (ARB) Artistic Director Douglas Martin about the connections that he and the company have with the Joffrey Ballet when it was based in New York, the challenges of running a ballet company in the shadows of major companies in New York and Philadelphia, and his new production of “A Midsummer Night’s Dream” that premieres on February 26th. Read here.

Igone de Jongh in 'Rubies'.  Photo © Angela Sterling

A Jewel of a ballet

“Jewels, like tutus and pointe shoes, are for many people what ballet is all about. George Balanchine struck gold with “Jewels”, his first full evening ballet created for New York City Ballet in 1967. It has proved to be one of his most enduring and best loved and offers a score of varied and challenging roles.” Maggie Foyer on Dutch National Ballet.


Ballet San Jose in Twyla Tharp's 'In the Upper Room' (dancers l-r Alison Stroming, Akira Takahashi (obscured), Ihosvany Rodriguez, Cindy Huang).  Photo © Alejandro GomezFrom California

Claudia Bauer on a triple-bill from Ballet San Jose that mixed the out and out classicism of Balanchine’s “Theme and Variations” with Robbins’ “Fancy Free” and Twyla Tharps’ 1980s vintage “In the Upper Room.” Read here.

And from San Francisco she reports that “twenty-somethings came in droves to see the West Coast premiere of Kyle Abraham’s “Pavement”, performed by his company, Abraham.In.Motion.” And a provocative and relevant piece it is too. Read here.

Latest from London

Wayne McGregor and his company, Random Dance, are to take up residence in a new arts space, Here East, in London’s Queen Elizabeth Olympic Park in 2016.Studio Wayne McGregor will be a home for McGregor, his company and collaborators, and it is planned, a major resource for the arts and for the communities of east London. More here.

Boris Chamatz's 'Manger'. Photo © Ursula Kaufmann

In a major interview, Birmingham Royal Ballet Artistic Director David Bintley talks to CriticalDance about his two decades at the helm in Birmingham, and his highly acclaimed “Carmina burana”, a regular in the city but about to return to the London stage for the first time in eighteen years.

For 48 hours on 15 and 16 May, As part of BMW Tate Live, the Tate Modern’s performance programme, the building will temporarily be turned into “Musée de la danse”, as noted French choreographer Boris Charmatz and a team of over 75 dancers present an unfolding programme of dance. David Mead reports.


More from New York

Jerry Hochman reports on New York Theatre Ballet‘s latest program – a mix of old and new – and even finds himself enjoying a Cunningham work. Read here.

Philadelphia and Seattle Pennsylvania Ballet's Ian Hussey and Oksana Maslova in Christopher Wheeldon’s 'Polyphonia'.  Photo © Alexander Iziliaev

New Soloist Oksana Maslova shines in Philadelphia: Pennsylvania Ballet’s Polyphonia, Shift to Minor and Prodigal Son. Sigrid Payne DaVeiga reports. Read here.

Three tables, two chairs, and one watched kettle. Dean Speer on Seattle’s annual Chop Shop festival of contemporary dance.

Nureyev and FriendsDance on film and DVDBallet 422: Poster

CriticalDance takes a look at this month’s two new releases.

Jerry Hochman takes a look at “Ballet 422″, a movie documentary that follows the creation of New York City Ballet’s 422nd new ballet, Justin Peck’s “Paz de La Jolla”, from conception to premiere. Directed by Jody Lee Lipes, the film provides marvelous insights into the development of a new ballet, the personalities of the people involved, and the loneliness of a long distance choreographer.

And David Mead reviews the recently released DVD of the “Nureyev and Friends” gala from Paris in May 2013.

These and much more in Reviews and Features.

And check out our new links to major choreographer and dancer archives, foundations, trusts and resources, under Other Resources on the Links pages.