News & Press

excerpt from Men Add Juice to Sugar Plums

By Alastair Macaulay, The New York Times
Tuesday December 11, 2012

...the production has sweetness, fun and intimacy.

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Diana Byer: How I Teach Cecchetti

Diana Byer: How I Teach Cecchetti

By Jenny Dalzell, Dance Teacher
Friday June 1, 2012

... artistic director Diana Byer uses the Cecchetti syllabus to train her dancers. Though it’s one of the oldest existing systems of ballet pedagogy, she stresses that it is not an antiquated method as teachers continue to breathe life into the training. It’s an ideal syllabus for students who also study modern and jazz dance and perform a wide range of choreography. Its unadorned qualities train students to move strongly and purely, without stylistic idiosyncrasies.
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Nymphs, A Moor, And Lovers Roam About<br />

Nymphs, A Moor, And Lovers Roam About

By Brian Seibert, The New York Times
Monday March 12, 2012

The New York Theater Ballet's Signatures series juxtaposes old and new. Usually the vintage stuff - forgotten or rarely performed works by master choreographers - is best, but sometimes, as in the program performed on Friday at Gould Hall, the balance is more even. Details >

 
 That's So New York: Lifted by Dance

 That's So New York: Lifted by Dance

By Kela Walker, NYC Media
Friday January 13, 2012


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2011 Press Releases

New York Theatre Ballet’s (NYTB) 2011-2012 season debuted an all-new production of Keith Michael’s Nutcracker joining Cinderella, Sleeping Beauty and The Alice-in-Wonderland Follies in its family-friendly Once Upon A Ballet series. For adults, this season’s Signatures series includes José Limón's masterpiece The Moor's Pavane, as well as last season’s hit, Richard Alston’s A Rugged Flourish.
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An Appealing Surprise: <i>The Nutcracker</i> featured in <i>The New York Observer</i><br />

An Appealing Surprise: The Nutcracker featured in The New York Observer

By Robert Gottlieb, The New York Observer
Tuesday December 20, 2011

An appealing surprise turned up at the small but always intelligent and attractive New York Theatre Ballet at the Florence Gould Auditorium. Keith Michael has replaced his own Nutcracker, performed from 1985 to 2010, with a new version, and it’s a honey. On a tiny stage with a limited number of dancers—the Snowflakes, for instance, are just four girls and two boys—he has made an hour-plus miniballet intended primarily for little kids but equally enchanting for ancients like me. It’s completely ingenious the way he deploys the pretty cut-out scenery (by Gillian Bradshaw-Smith) and the equally charming costumes (by Sylvia Taalson Nolan), and it’s extraordinary the way he achieves so much with so small an ensemble. What’s more, the choreography is musical and inventive—and fun. These are committed dancers, as much at home in this classic as they were in Tudor, Cunningham and Alston the last time I saw the company. Details >

 
Outfitting <i>The Nutcracker</i>

Outfitting The Nutcracker

By Alexandra Cheney, The Wall Street Journal
Tuesday November 15, 2011

Twenty six years after she designed the costumes for choreographer Keith Michael's production of "The Nutcracker," Slyvia Nolan still has sugar plum fairies dancing in her head.  Although she spends most of her year as the resident costume designer for the Metropolitan Opera, a position she's held since 1997, this year Ms. Nolan is reuniting with Mr. Michael and the New York Theatre Ballet to help create a fresh "Nutcracker," with new costumes, sets and dances. Details >

 
One Apartment, Two Very Different 'Nutcrackers' by James Barron, November 2011

One Apartment, Two Very Different 'Nutcrackers' by James Barron, November 2011

By James Barron, The New York Times
Monday November 14, 2011

"It's the grueling time," Mr. Michael explained. "It's Nutcracker' season."  He and Mr. Parker are choreographers working on two distinctly different versions of "The Nutcracker," the ballet that, for audiences, is a hardy holiday perennial, with Drosselmeyer, toys that come to life and even fighting mice. Details >