About
I decided to start a blog for three reasons:
1) People felt that there should be a part of the Threepenny website that was available only online, not in the printed magazine.
2) Some of the things I wanted to write about seemed as if they would benefit from a slightly more timely response than our usual quarterly publication permitted.
3) I was seeing and hearing so much interesting art — especially in the areas of dance and music, though also in literature, theater, and the visual arts — that I couldn't fit everything I wanted to say into The Threepenny Review without taking over the whole publication. And if you are not Diderot or Karl Kraus (and I am certainly neither), it is never a good idea to write the whole magazine yourself. But I figured the rules of blogs would allow me to monopolize one of those.
I struggled to come up with a good title for the blog and at first resisted using my own name, feeling (as those named Lesser are bound to feel) that diminishment is not necessarily a selling point. But then I figured that if people named Grudge or Drudge can use their names on websites, I should certainly not be abashed at calling this The Lesser Blog. So here it is, and I hope you enjoy it.
Wendy Lesser
Editor, The Threepenny Review-
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Tag Archives: american ballet theatre
A Very Full Spring
Once again I have been so busy going to things that I haven’t had time to write about any of them. I will try to do a bit of catchup here, and I hope more about some of these singular … Continue reading
Posted in The Lesser Blog
Tagged alexei ratmansky, american ballet theatre, ariodante, butterfly, carmen, carnegie hall, destyatnikov, english concert, Film Forum, frederick wiseman, harry bicket, heartbeat opera, joyce di donato, juvenile court, leif ove andsnes, louisa proske, marc-andre hamelin, new york city ballet, odessa, sonia prina, titicut follies, whipped cream
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Ratmansky’s Serenade
Alexei Ratmansky’s Serenade after Plato’s Symposium is the first dance I’ve seen of his that’s set to American music, and it’s a knock-out. Named after the Leonard Bernstein score it faithfully follows, it is not only the best new dance … Continue reading