How did we get here? How did we get to the point where just about every new classical dance is meaningless? Today, premieres at the big ballet companies come dressed in the hippest costumes on the hottest bodies. They boast an haute frame of reference and wear the zeitgeist like a thong. Some of these premieres push the right buttons and generate enough enthusiasm to radiate success, while others push the wrong buttons and disappear after a season or two. No matter what the buttons, there’s not much difference between good and bad. Your average state-of-the-art premiere is so derivative of Forsythe, Tharp, or Martins that it feels secondhand (even when the ballets actually are by Forsythe, Tharp, or Martins, they feel secondhand). Or it tends to trade in age-old clichés.

One might almost think that company directors are actively seeking sameness—last year’s moderate success...

 

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