News & Press
NY Theatre Ballet delights children with lively version of "Peter & Wolf"
By Wendy Liberatore, The Daily Gazette
Monday February 11, 2013
ALBANY — New York Theatre Ballet knows how to tell an absorbing tale.
That’s just what this ensemble did on Sunday afternoon at The Egg — to the delight of hundreds of children who came out to see its lively version of Prokofiev’s “Peter and the Wolf;” along with a bonus, the premiere of the troupe’s newest work, “Bark! In the Park.”
The Scoop on New York Theatre Ballet
By Jill Feigelman, New York Family
Tuesday January 1, 2013
New York Family's Jill Feigelman visits our studio and discusses NYTB, teaching, our LIFT program, and the love of dance with Diana Byer.
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.
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.
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 >
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 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 >