Coping With Bad Reviews

Have you ever been stung, hurt or infuriated by a cutting review? Or have you ever gotten a desperate phone call from a friend who’s trying to recover from a degrading insult that appeared in print?

Now is the time to get help in coping with such reviews. Come to a panel entitled “Protecting Your Passion: Surviving the Negative Review” tonight from 6–8 pm at Gibney Dance on Chambers Street and find out about a new service. The panel is co-presented by the Dancers’ Resource, a program of The Actors Fund (which, by the way, is merging with Career Transition For Dancers). Bebe Neuwirth, who founded the Dancers’ Resource to help dancers cope with injuries of another kind (the physical kind), will be on hand to explain the services that the Dancers’ Resource provides. The Dancers’ Resource coordinator Amy Wilder will announce a new service to help dancers around the country cope with upsetting reviews. Choreographers David Parker, Ann Marie De Angelo, Nia Love and Sam Kim will talk about the impact of negative reviews on them and how they’ve moved past them to continue their work. I will be moderating.

The panel is part of Gibney Dance’s Center Line series. For more information, click here.

Breaking Stereotypes
Lindsay Martell at a class performance. Courtesy Martell.

More than once, when I'm sporting my faded, well-loved ballet hoodie, some slight variation of this conversation ensues:

"Is your daughter the dancer?"

"Actually," I say, "I am."

"Wow!" they enthuse. "Who do you dance with? Or have you retired...?"

"I don't dance with a company. I'm not a professional. I just take classes."

Insert mic drop/record scratch/quizzical looks.

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Taylor Stanley in Apollo. Photo by Erin Baiano, Courtesy New York City Ballet

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Voting is open until September 17th. Only one vote per person will be counted.

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Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.

Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:

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Teaċ Daṁsa in Michael Keegan-Dolan's Loch na hEala. Photo by Marie-Laure Briane, courtesy Walker Art Center

The 2019–20 season is here, and with it more performances than any one person could reasonably catch. But fear not: We polled our writers and editors and selected the 31 most promising tickets, adding up to one endlessly intriguing year of dance.

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