Paul Kolnik News

Charitybuzz's new auction for house seats to see Marin Mazzie and Daniel Dae Kim benefits Transport Group.

The dynamic between its new stars gives the hit revival new dramatic textures.

On the afternoon of May 22nd 2016, audience members at a nearly sold out performance of New York City Ballet's 'Classic NYCB II' program at the Koch Theater in Lincoln Center were treated to five selections that underscored the impressive range and enduring excellence of the troupe's repertoire.

In this episode: Susan Stroman maybe the most awarded female director/choreographer in history, but it is her truth as an artist that has made her work ever-evolving. She deservedly has received legendary status and her contributions to the theatre are far from over. In this podcast, "Stro" shares inspiration, guidance, laughter, and reality: with  a  quantity of quotes that are mantra-worthy.  It is Stroman's love for the theatre, respect for the craft and compassion for the performer that makes her an extraordinary woman in a creative yet complicated career. 

A different kind of energy crackled throughout the David H. Koch Theater on the evening of May 13, 2016, vibrant and self-aware, with a knowing sense of the dynamic dancing that lay ahead. As I settled into my seat, preparing to bask in the evening's ode to Jerome Robbins, a British accent behind me said, clearly and plainly, 'I've never been to the ballet...I'm so excited.' I smiled to myself; thankful for all of the ballets I had seen before, and with a keen certainty that after tonight, this gentleman was certainly going to be returning.

Three-time Tony Award nominee Marin Mazzie and Daniel Dae Kim recently joined the Tony Award-winning production of Rodgers & Hammerstein's The King and I at the Vivian Beaumont Theater, and BroadwayWorld has a first look at the pair on stage below!

New York City Ballet, home to George Balanchine's vision of dance in America, is well known for commissioning new work. This devotion to innovation can result in work that runs the gamut from zestful to appalling. Case in point, the '21st Century Choreographers II' program on May 7th, 2016, which presented a hodgepodge of brilliant, ill conceived, entertaining, and 'not suited to house style'.

At Lincoln Center's Koch Theater on April 29, 2016, the ballet crowd filled the house that Friday evening. For this program, City Ballet presented Estancia, Pictures at an Exhibition, and Everywhere We Go. Each piece demonstrated a variance in style, yet conclusively was still in the realm of the dancers' undeniable Balanchine training.

To judge by Sunday's matinee on April 24, 2016, the New York City Ballet is in good dancing hands-shall I say excellent hands. If two of the three ballets that afternoon did not always meet the demands of the choreographic high level set forward by Balanchine, the dancing most certainly did. It was, to be understated, superb.

This Sunday, April 17 marks the first year anniversary for Lincoln Center Theater's Tony Award-winning production of Rodgers & Hammerstein's The King and I directed by Bartlett Sher, at the Vivian Beaumont Theater (150 West 65 Street).

Be part of the Broadway and West End hit musical AMERICAN IDIOT by Green Day; upload your audition video to YouTube now until Wednesday, April 20, 10 p.m.

She's won multiple Tonys for big, splashy, toe-tapping musicals, but Stro's current project is a nonmusical family dramedy off-Broadway.

The Sunday April 24, 3:00pm matinee performance of Lincoln Center Theater's Tony Award-winning production of Rodgers & Hammerstein's The King and I at the Vivian Beaumont Theater (150 West 65th Street, NYC) completes the fifth season of autism-friendly performances presented by TDF's Autism Theatre Initiative (ATI). The other autism-friendly performances of Broadway shows this season are The Lion King (September 27, 2015), Wicked (February 7, 2016) and Aladdin (March 6, 2016).

Peter Martins' reconstruction of the 1836 tragicomedy, 'La Sylphide', and Balanchine's 1972 update of 'Tschaikovsky Piano Concerto No. 2' proved to be a particularly felicitous pairing for a February 12th to 18th run at the Koch Theater during New York City Ballet's Winter Season. 'La Sylphide', with choreography by the Danish icon August Bournonville to a score by Herman Lovenskjold, is a masterpiece of surprisingly campy humor plus gorgeous 'white ballet' ensemble work for the ladies. After that opener, the audience is warmed up and ready for one of Mr. B's most ingenious plotless neoclassic treasures.

As part of New York City Ballet's Winter Season 2016 at Lincoln Center's Koch Theater, the program appropriately entitled 'Masters at Work' was a perfect pairing of two disparate yet in one way similar creations by the troupe's founding choreographers, George Balanchine and Jerome Robbins. Mr. B's Liebeslieder Walzer, which premiered in November of 1960, is a lush and romantic evocation of 19th century Vienna to the music of Johannes Brahms set to poems by Friedrich Daumer and Johann Wolfgang von Goethe. In contrast, Robbins's Glass Pieces dating from 1984 is a pulsing portrayal of urban urgency in the 20th century with Philip Glass's minimalist score as the accompaniment.

Magic happened this past Thursday night at the gorgeous David H. Koch theatre as New York City Ballet lit the stage in the premiere week of their much-anticipated winter season. Getting back to their roots and showcasing what they do so well, the company's three-piece All Balanchine I program celebrated their master choreographer, dancing with undeniable effervescence as they attacked the movement to light up the music's striking affectations; it is an intrinsic quality, and one which makes the company so unique.

Today Cordero chats exclusively with BWW about portraying the powerful Capo di Tutti in the 'quintessential New York story' of A BRONX TALE.

There was an explosion of talented dancers on stage at City Center on December 22, 2015. The energy was high. The dancers lit up the audience so that at the end of each piece, the outburst of applause and yells came from them. It was thrilling for everyone in the theater.

On Christmas Day, Lincoln Center will share the warmth of the holiday season when it brings New York City Ballet's exquisite production of George Balanchine's THE NUTCRACKER to approximately 400,000 members of the U.S. Armed Forces and their families serving abroad in 175 countries and U.S. territories, via AFN, the American Forces Network.

On Christmas Day, Lincoln Center will share the warmth of the holiday season when it brings New York City Ballet's exquisite production of George Balanchine's THE NUTCRACKER to approximately 400,000 members of the U.S. Armed Forces and their families serving abroad in 175 countries and U.S. territories, via AFN, the American Forces Network.