News & Press

To Test Some Boundaries, First You Charge Forward, and Then You Back Off: New York Theatre Ballet at Florence Gould Hall<br />

To Test Some Boundaries, First You Charge Forward, and Then You Back Off: New York Theatre Ballet at Florence Gould Hall

By Brian Seibert, The New York Times
Sunday February 24, 2013

...at Florence Gould Hall on Friday, Richard Alston not only spoke illuminatingly about his own choreography, he also gave an accurate endorsement of the troupe performing it, New York Theater Ballet. “I like the company I keep here,” he said, meaning both the unpretentious dancers and the high-class repertory. ... New York Theater Ballet is producing new works as good as — and often better than — its bigger siblings. Details >

 

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.”
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The Scoop on New York Theatre Ballet

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.
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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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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 >