Comments on: MORPHOSES OPENS ITS 2009 NEW YORK SEASON WITH ITS BEST PROGRAM THUS FAR

By: Michael Northrop

Michael Northrop — Mon, 02 Nov 2009 02:42:58 +0000

Hi Meg,
Yeah, I think that’s totally true: There are more books and more reviewers, and so it is self-evidently helpful to categorize books by genre and cross-reference authors in reviews. But the basic question is the same: Does the reviewer acknowledge perspectives and tastes other than his or her own? In books, the answer is often yes; in dance, it seems more often to be no.

By: Meg

Meg — Mon, 02 Nov 2009 02:09:44 +0000

I wonder if some of the difference Michael describes doesn't stem, at least in part, from the fact that there are so many more venues for book criticism than there are for dance criticism. I see the “for fans of…” sort of review most often in the trade publications (Publishers Weekly for example, or Library Journal) while they seem far less common in, say, the Times. And many genre books simply don't get reviewed in large, widely read publications. Rather, they're reviewed in publications geared toward that particular genre so there's a great awareness of writing for a specific audience. Romances, for example, make up a large portion of the market, they sell a great many copies, but they're generally not being in big newspapers.

There are also so many more people writing book reviews than there are dance reviews that it seems natural that you'd wind up with a greater diversity of opinion. More people lead to more opportunities to disagree. One hopes, anyway.

By: Michael Northrop

Michael Northrop — Sun, 01 Nov 2009 21:42:58 +0000

By: Meg

Meg — Sun, 01 Nov 2009 21:09:44 +0000

By: Michael Northrop

Michael Northrop — Sun, 01 Nov 2009 01:15:24 +0000

It’s interesting to contrast the approach of the dance critics you’ve mentioned with that of book critics, who seem to be much more concerned with and aware of the idea of intended audience. It’s pretty standard to see lines like “For fans of cerebral mysteries” or “Fans of [insert author name here] will be right at home.”

Even when they don’t like a book themselves, critics will often acknowledge its appeal to a different sort of reader. And a book that falls short of Flaubert might still be a “guilty pleasure” or “decent beach read” or whatever.

There was one book blogger who absolutely hated my novel but ended her review by saying that fans of J.D. Salinger might like the writing(!). I’d never been so happy for a bad review in my life.

These dance critics seem less concerned with the audience. Obviously, they have more knowledge and historical perspective than most dance-goers, but It might be nice to have a little more acknowledgment of the diversity of tastes. Maybe an occasional: “While fans of SYTYCD will admire the showmandship and athleticism, [total slam here]…” or “Mark Morris fans [are wrong] but…”

Maybe some of that is a British thing, but then, Wheeldon is British. Maybe they root for different soccer—er, football—teams? Whatever, Morphoses rocked last night.

By: Leigh Witchel

Leigh Witchel — Sat, 31 Oct 2009 22:13:15 +0000

Hey Tonya -

It's a brutal question. I can't speak for every critic (and I liked the Harbour best from Program A) but I think the problem with the response to Lightfoot Leon piece *might* be generational. I liked the performances but feel like the work is more effect than substance - something that honestly a critic will care about more than the general audience. But it's my job to object to that, IMO.

There is a disconnect between the critics and the audience - I don't even own a TV, I couldn't care less about Dancing With The Stars or So You Can Think You Can Dance. I give a lot fewer points for great dancing - most dancers right now are a lot better than the material they dance - and I feel like it's an important part of my job to object to that as well. Maybe that's another part of the disconnect?

Best regards -

Leigh

By: JACOBY AND PRONK IN LIGHTFOOT LEON’S SOFTLY AS I LEAVE YOU at Swan Lake Samba Girl

Sat, 31 Oct 2009 16:18:05 +0000

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By: nysusan

nysusan — Sat, 31 Oct 2009 14:13:42 +0000

In NY it was danced by Danielle Rowe & Matthew Prescott. I really enjoyed the first program, especially Commedia. I thought it had more sweetness and geniality than I remembered from last season. Different dancers = different impressions.

By: Emilia

Emilia — Sat, 31 Oct 2009 00:49:14 +0000

I loved how Jacoby & Pronk summarized the London Morphoses season in a tweet ” audience response = great, critics' response = poop”!

Commedia is one of my favorite Wheeldon pieces ever, I think I like it better than Carrousel. The “lovers pas de deux” is so delicate & moving. Who danced it in NY? (here in London we had Watson & Benjamin – same cast as last year)