Reviews

1994

Clippings marked with * are translated.

Symphony in C (N.Y.C.B.)

MARGARET ILLMANN STARS
" The New York City has a star on it's hands……Ms Illmann .., is a fascinating performer… very much a Balanchine ballerina with her carefree flyaway limbs…And her buoyant run… was pure City Ballet. Glamorous in an understated way, Ms Illmann seemed to take an almost actors approach to her performance. Her rendering of the choreography and of the distinctive style was beautifully thought out but spontaneous looking."
(Jennifer Dunning, The New York Times, 13.05.1994)

A GUEST JOINS THE CITY BALLET FOR "SYMPHONY IN C"
" …She is certainly a highly adaptable dancer, and in the first movement of the Balanchine's Bizet "Symphony in C" she had no trouble with the lightning speed typical of the City Ballet ballerinas. At heart she is a dramatic dancer, and this gives her clear, classical form anything but an academic air… There was a charming regality….full of exciting verve.
(Anna Kisselgoff, The New York Times, 17.05.1994)

The Nutcracker (N.Y.C.B.)

"The Land of Sweets gained a new monarch…When she lifted her wand over her subjects, one know that her Sugarplum Fairy was a gentle ruler. Ms Illmann danced with a creamy smoothness, yet through subtle effects of timing invested her sweetness of demeanor with some of the variety that can be the spice of art as well as life. In the light darting steps of her solo, each slight shift of direction looked fresh and surprising. … Ms Illmann's extensions were regal and her sustained balances became triumphant proclamations. .. (She) responded with dramatic conviction to everyone else on stage …. She deserves praise for making the Sugarplum Fairy seem the benevolent monarch of a real kingdom rather than the star ballerina twirling in a vacuum."
(The New York Times, 31.12.1994)

Swan Lake (E.N.B.)

"...thanks to the dancing of Margaret Illmann as Odette/Odile, this emerged as a Swan Lake I will be happy to remember. She is a remarkable technician ,,narrow and neat of foot with stunningly pliant and expressive arms. She conveyed so unforcedly , the swan-like essence of the enchanted Princess even as she conveyed the very human fears and emotions of the woman trapped inside. As Odile she captivated the Prince (Rex Harrington) with a foxy seductiveness – very Joan Crawford, utterly appropriate."
(Mary Brennan, The Herald (Glasgow), 16.07.1994)

"In Margaret Illmann, ENB has secured the services of truly superlative interpreter of the dual role. Gifted with beauty of face and physique, Illmann carried all before her with a performance of breathtaking technical realisation and depth."
(Geoffrey West, Scotland on Sunday, 17.07.1994)

Scotland Tour with the E.N.B.

"For the full brilliance of Russian Imperial grandeur, one need look no farther than Margaret Illmann. A beautifully proportioned ballerina, she tempers the steely attack of her dancing with exquisitely eloquent arms, a combination which lends her Nikiya an unearthly quality".
(Christopher Bowen, 1994)

Gala des étoile

" The National Ballet of Canada's bright new prima-ballerina, Margaret Illmann, fresh from her personal triumph on Broadway in "The Red Shoes" was…. Outstanding…gave a superb performance in the Glazounov pas de deux with New York City Ballet's incomparable Damien Woetzel"
(Myron Galloway, 1994)