ENTERTAINMENT MAGAZINE NEWS

— Any exhibition honoring Diaghilev’s Ballets Russes is likely to be a blast of color. When the company was born in 1909, its designers Alexandre Benois, Léon Bakst and Nicholas Roerich combined hues with an intensity hitherto unknown on Western stages. Its final premiere, in 1929, was George Balanchine’s ballet “The Prodigal Son,” whose designs by Georges Rouault had, deliberately, the glow of stained-glass windows. In between, great colorists like Picasso, Matisse, Sonia and Robert Delaunay, Mikhail Larionov and Natalia Goncharova passed through like a shower of meteors. Diaghilev and the Ballets Russes, 1909-1929 A Natalia Goncharova costume from “Sadko,” [...]

Full reviews of recent dance performances: A searchable guide to these and other performances is at Adapt Festival (Thursday) The East Coast portion of this bicoastal event occupies just one evening at the Center for Performance Research in Williamsburg, Brooklyn. The common denominator in a long lineup of young, interdisciplinary artists (from Slovenia, New York and California) seems to be a connection to ArtBark International, the loosely knit collective that’s spearheading the festival. It sounds like a potentially sprawling but fun free-for-all. At 7:30 p.m., 361 Manhattan Avenue, near Jackson Street, Williamsburg, Brooklyn, (800) 838-3006, brownpapertickets.com; $ 10 in advance, [...]

In the dim light you can discern a body. It’s crumpled, contorted. There seems to be white powder in its hair, white makeup on its skin. It rises to pose in bent shapes. At times it also moves quickly. But then it sinks back down and the lights go out. A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics. That’s a description of the first section of Andrea Miller’s “Blush.” With more bodies, it could be a description of several other sections of this hourlong dance. Created in 2009, it was revised for [...]

Although you applaud the dancers, it’s the dances in the triple bill that American Ballet Theater presented on Tuesday night that haunt you. These three superlative, entirely distinct examples of ballet classicism, made between 1947 and 1988, do much to demonstrate that ballet choreography reached its most diverse and fascinating peaks in the middle of the 20th century. The program deserves more performances than the mere four it is receiving this season. Andrea Mohin/The New York Times American Ballet Theater, with Julie Kent and Roberto Bolle in “A Month in the Country,” presented a triple bill on Tuesday. A sortable [...]

They could almost be dancing for one another, these kids, on the street, in a club. Except that their circle is open at the front and they face outward, performing for spectators. Each gets a turn in the middle, and at first what they do isn’t that impressive. But it builds, and soon enough the dancers are balancing on their heads with legs like angular sculptures, swinging their arms like nunchucks, creating strobe-light effects without strobe lights — inspiring awe. Rennie Harris RHAW, which opened a run at the New Victory Theater on Friday, is the training company for Rennie [...]

Wedged between “Onegin” on Monday and “Don Quixote” on Friday is a gem, as American Ballet Theater continues its season at the Metropolitan Opera House. Opening on Tuesday is the company premiere of Frederick Ashton’s “A Month in the Country.” Choreographed in 1976, this ballet is a retelling of Turgenev’s play about a young tutor’s impact on a Russian household. Ashton set his work, in which the narrative unfolds as a series of exquisitely detailed moments, to Chopin as arranged by John Lanchbery. A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics. The [...]