An Interview with the New York Times' New Dance Critic

FT theatre critic and TLS dance critic Alastair Macaulay spoke to Paul Ben-Itzak of Dance Insider:

PBI: As far as you know, will Jennifer Dunning, as well as current freelancers Gia Kourlas and Roslyn Sulcas, still be reviewing for the Times?

AM: As far as I know, not only will they, but so will Claudia La Rocco. I have been in regular contact with Jennifer Dunning (whom I first met in 1980) since November about the posisbility of working together at the "Times."

The offer only materialized at the end of last week (February 8-9), I only spoke to the FT and considered their counter-offer on Monday (February 12), and only on the afternoon of Tuesday 13 (British time) did I advise both newspapers that I would be accepting the Times offer. My next immediate move was to make e-mail contact with Gia Kourlas (whom I had met in January), Claudia La Rocco (whom I have not yet met), and Roslyn Sulcas (whom I used to know years ago), and they have all made warm and enthusiastic replies. I like what I know of their work and am genuinely look forward to getting to know it and them better.

PBI: How do you see your role as a dance critic, generally and writing for a newspaper?

AM: A critic describes, analyses, contextualises, interprets, evaluates. He/she also entertains: I mean this in the serious sense that Balanchine told Denby that ballet is entertainment. But the word "critic" is, obviously, intimately connected to the word "criteria." In that sense, what makes a critic good is his/her choice of criteria and his/her application of them. A critic is a professional aesthete, a reporter on the ostensible facts and the intimate effects of art, and a communicative writer with passions and values.

PBI: Will you be responsive to the NY dance community -- not, of course, as pertains to your criticism but as far as listening to its feedback on dance coverage?

AM: How can I say at this stage? The senior dance critic and editor Mary Clarke gave me in the 1970s the advice that the senior dance critic Arnold Haskell gave her in the 1940s: "Never predict."

PBI: As a British-based critic, what qualifies you for this position over American candidates?

AM: I've written a great deal for the New Yorker, the Financial Times, and the Times Literary Supplement -- three publications for which the New York Times has great respect. As chief theater critic of the FT for over 13 years, I have very considerable experience of working for daily newspapers. I've written for many years about theater and music, and thus hope to bring some breadth to the area. I've been writing about dance for almost 29 years, and a large part of my dance writing has always been about American dance.

My first visits to the USA were all to see dance. On my first morning in New York, in January 1979, I stood in line for standing room places for New York City Ballet, and I did that for eight performances a week for three weeks. I was 23 years old, and I had withdrawn every bit of money I had to make the trip, all because the dance writing of Edwin Denby and Arlene Croce had inspired me to find out why on earth New York City Ballet prompted them to write such inspiring prose. Once I had bought my standing-room place, I used to spend every day in the New York Dance Collection, where I was a frequent visitor for many years (and will be again).

More recently, my visits to America have often been to see dance by Merce Cunningham and Mark Morris, whose companies I've been to watch in New York, Philadelphia, Berkeley, Orange County, and St. Louis. I've also had the opportunity to follow their work and Christopher Wheeldon's in Europe, where all three choreographers have given major world premieres this millennium. My experience of American ballet companies goes back 30 years this year: I can still tell you who danced what at every single performance by American Ballet Theatre at the London Coliseum in the week of July 18-23, 1977. Thanks to the visits by American ballet companies to the Edinburgh Festival and London in recent years, I have had the chance to see some American ballet productions that have not been shown in New York, not to mention most of Christopher Wheeldon's many ballets for the London Royal Ballet.

As I've mentioned, in 1988 and 1992, I worked as guest dance critic for the New Yorker. I covered choreography by George Balanchine, Trisha Brown, Merce Cunningham, William Forsythe, Peter Martins, Mark Morris, Paul Taylor, and Twyla Tharp and other American-based choreographers -- just as I've often covered them in Britain.

Since 1979, many of my best friends have been American dance critics and members of the American dance community; I'm looking forward to seeing more of them.