Ballet Past and Present, at New York City Ballet

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Ballet Past and Present, at New York City Ballet
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Plus: the sadistic “Saw: The Musical”; Michael Roemer’s end-of-life documentary; and Rachel Syme on adult classes on offer in N.Y.C.

Marina Harss Harss has written about dance for Goings On since 2004. Since its earliest days, New York City Ballet has shown contrasting tendencies, each aligned with the temperament of one of N.Y.B.C.’s two founding choreographers, George Balanchine and Jerome Robbins. One was more abstract, more impersonal; the other had a greater sensitivity to the culture around him, especially that of young people. Each approach complemented the other.

, once professed that music is “a mistress of order and good manners makes the people milder and gentler, more moral and more reasonable.” In this coming era—during which fear, corruption, and avarice will stand in prominence—gentleness, morality, and reason must be cherished in whatever form they can be found. On Jan. 20, Martin Luther King, Jr.

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