Claudia La Rocco started her career as a general arts critic for the Associated Press when her editor asked her to review a dance piece. La Rocco spent multiple months, as she says, humiliating herself internationally and online critiquing dances. However, she is now comfortable with her dance criticism ability by realizing that it is a near “impossible endeavor”. She is now a dance critic for The Times.
The review, “Magic, Sparkle and Happily-Ever-Afters Galore”, opens with a general statement about “storybook ballets” and their “conventional magic”, which provides some context about the ballet itself. La Rocco also provides context by discussing the style of choreography (Petipa-based and Balanchine’s “Garland Dance”) and mentioning Tchaikovsky’s score along with the dancing.
The end of the second paragraph and first sentence of the third is where La Rocco places the “but” which states that “The Sleeping Beauty” is one of the occasional ballets that has a more satisfying connection for the audience.
La Rocco uses an informed, authoritative and concise voice. She states the power of the dancers as facts rather than possibilities (e.g. “Mr. Veyette’s walk did that, and it was no small thing.”).
Her tone, while sometimes humorous, is respectful and appreciative. Her excessive descriptions of costumes and movement show her respect for the art of dance in general and in this show.
While discussing the performers, La Rocco addresses specific details about each. She talks about their energy, appearance, and dance capabilities. Through these descriptions she states her opinion about each of them without being flagrantly harsh or blunt (e.g. “The suppleness and amplitude of her upper body worked to grand effect throughout the night”).
This is a very well written review that is both informative and concisely critical.
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