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Meghan Feeks

Meghan is a New York-based writer with an extensive background and lifelong interest in dance. Having trained in classical ballet with leading teachers, academies and companies throughout the US, she is now a dance reviewer for DancePulp and EDGE New York, a dedicated supporter of dance artists and organizations, and a borderline-obsessive student of Argentine tango. She holds a BA from McGill University, where she studied philosophy and political science, and a master's in strategic communications from Columbia University.

Gallim in "Blush" Gallim in "Blush"

REVIEW: Gallim’s Blush at BAM

Dance has the special distinction of being both the pinnacle and precursor of society. Long before there were pointe shoes, galas and gilded theaters, dance bridged the gap between animals and early humans, in many cultures playing a critical role in the formation of a collective identity. On Wednesday night…


Carla Körbes and Seth Orza in Jean-Christophe Maillot’s Roméo et Juliette. Photo | © Angela Sterling. Carla Körbes and Seth Orza in Jean-Christophe Maillot’s Roméo et Juliette | Photo © Angela Sterling

REVIEW: Pacific Northwest Ballet’s Roméo et Juliette at City Center

For some, Romeo and Juliet is a story of love.  For others, it is a tale of tragic fate.  But in Pacific Northwest Ballet’s production, which ran last weekend at City Center, it is primarily a story of adolescence — which provides a duly tormented backdrop for the story’s central…


Kidd Pivot's "Tempest Replica" | Photo Jorg Baumann Kidd Pivot's "Tempest Replica" | Photo Jorg Baumann

REVIEW: Kidd Pivot’s “The Tempest Replica” at the Joyce Theater

Rock-star choreographer. Shakespeare. Cool, full-body costumes that turn top-notch dancers into chalk-white mannequins. On the surface, Kidd Pivot’s “Tempest Replica,” which ran at the Joyce last week, was replete with intriguing ingredients. Unfortunately, however, they didn’t combine as successfully as promised. True to its name, “Tempest Replica” distills the Bard’s…


Megan Fairchild and Chase Finlay in George Balanchine's "Duo Concertant" | Photo Paul Kolnik Megan Fairchild and Chase Finlay in George Balanchine's "Duo Concertant" | Photo Paul Kolnik

REVIEW: New York City Ballet’s “Black and White”

In many Balanchine works, the first strains of a Stravinsky score serve as musical nitroglycerin: poised in stable tension, dancers suddenly explode into movement well matched to the music’s complexity and precision. Such was the case Saturday afternoon in New York City Ballet’s “Black and White” program, which continues the…


Cedar Lake Contemporary Ballet in "Violet Kid" | Photo by Juileta Cervantes Cedar Lake Contemporary Ballet in "Violet Kid" | Photo Juileta Cervantes

REVIEW: Cedar Lake Contemporary Ballet at the Joyce

Cedar Lake Contemporary Dance held court with a captive, hometown audience last week, like an impossibly hip and worldly friend that fascinates with tales from abroad. For the past year and a half, Cedar Lake has been performing everywhere but the Big Apple, taking up with Europe’s presenters as often…


Sylvie Guillem in "Bye" | Photo Bill Cooper Sylvie Guillem in "Bye" | Photo Bill Cooper

REVIEW: Sylvie Guillem’s “6000 Miles Away” at Lincoln Center

Sylvie Guillem presents something of a conundrum for dance criticism. Typically, it’s possible to separate the dancer from the dance — to distinguish the merits of the choreography itself, from how the dancer executes it and brings it to life.

The 47-year-old Guillem has performed so many roles and styles over her long career that this would seem to be an easy task. And yet, watching her inhabit tailor-made works in “6000 Miles Away,” it was hard to imagine anyone else performing them — for she is one of those rare artists whose instrument alone expands the boundaries of what dance can express.

In the program recently staged by The Joyce at Lincoln Center, Sylvie’s instrument was in the hands of William Forsythe and Mats Ek, from whom the ballerina commissioned two original works to flank an excerpt from Jiří Kylián’s explosive “27’52”.”

For both Forsythe and Ek, classical ballet provides as much a foundation as a subject for artistic commentary. That is about where the similarities between the two choreographers end, however. Whereas Forsythe’s steely “Rearray” puts Guillem’s exceptional technique under a microscope, Ek gives it a back seat in “Bye” — a work that, best it can, portrays Sylvie as a normal human being.