Sulcas gets props for conjugating perspicacity from a noun to a verb in this review of Catch 27 at P.S.122, which featured Katy Pyle and Eleanor Hullihan’s super-awesome Centaur Show (C.C. saw an excerpt of this last winter at a Chez Bushwick “Ambush”)

Alastair Macaulay gets the creepy series award for describing the female French style of ballet dancing as “crisp, focused, fragrant”

Kourlas busts out “liquid plasticity” in her review of the latest Ailey program

Then she tries to outdo Macaulay with a longer series–“seduction, sadness, passion, strength and weakness”–in her preview of Tango Fire (although, to be fair, she’s quoting someone)

Sulcas’ spotlight on Les Corps de Ballet sounds oddly like an angry chick-song from the 90s: “She spends her youth and adolescence in front of unforgiving teachers and even more unforgiving mirrors”

And Macaulay puts more words into another dancer’s mouth, writing, “Whenever [Jérémie Bélingard] returned to the stage in a pas de deux, he seemed to say (to the audience), “C’est moi!”; then (about her), “C’est elle!”; and finally (to her), “C’est vous!”

You can’t make that up, kids…