Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.
By Paul Ben-Itzak
Copyright 2000, 2017 Paul Ben-Itzak
NEW YORK — Less heralded than the Bolshoi’s return to New York this summer, and yet no less a cause for rejoicing, is the return of veteran Buffy Miller to Eliot Feld’s Ballet Tech, particularly in her patented virtuoso turn, “Ion,” to the music of Steve Reich. If you want to know what it feels and looks like to be inside the music, you’ve got to see Buffy Miller in this Feld dance, as I was blessed to be able to do last night at the Joyce. “This is the best dance I’ve ever seen,” said my companion, and I’d have to put this artist at the top as well. Miller’s feat here rivals not only that of fellow Reich interpreter Anna Teresa De Keersmaeker, but, I can imagine, that of the first ballerina who ever used her awareness of body and hyper-awareness of music to enter another plane and take us there with her. I reference De Keersmaeker because, like that choreographer dancing to Reich in “Fase” Miller’s physical gifts take on a supernatural dimension. She seems to be doing things no ordinary human would find possible, and with this physical magic transcends the corporeal and becomes an element — an ion — in the music.
To receive the rest of the article, first published on August 8, 2000, subscribers can contact publisher Paul Ben-Itzak at email@example.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Archive of 2,000 exclusive reviews by 150 leading critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to learn how to pay by check or in Euros. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Purchase before April 14, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at email@example.com .