The name is lighthearted but the goal is serious. Dance deserves discussion. It deserves well-written, thoughtful, highly informed commentary — the kind of discussion that supports and nurtures an art form.

In recent years several major publications have dropped or minimized writing about dance, so it has become all the more urgent that new outlets arise to fill this void, and that they do so without succumbing to the temptation to “dumb it down”.  The Barre Flies provides a forum for first-rate dance writing, in a format easily accessed and enjoyed by today’s readers. It offers the fast-paced look and feel of social media, but with content as professional and reflective as what was previously available in print.

Each edition of The Barre Flies offers several different accounts of the same production and usually of the same performance, all written by distinguished dance writers — a collection of expert opinions that allows dance fans to quickly and easily compare various impressions. (The Barre Flies is for anyone who has ever noticed a circle of dance critics immersed in conversation in a theater lobby, and wondered what they were saying.)  We’ll supplement the critiques with background information, video references, and whenever possible with commentary from veteran dancers, too.

We welcome your feedback — let’s keep the discussion going.

“If there is anything more annoying in the world than having people talk about you, it is certainly having no one talk about you.”
— Oscar Wilde

Read more about why criticism matters.


Creator: Eliza Minden
Web Design: Our Man in Havana
Administrator: Maria Montanez
Copy Editor: Marilyn Minden
Illustrations: Andréa Selby
Research Assistant: Adrianna Aguilar
Communications Assistant: Madeline van Haaften-Schick
Éminence Grise: John Minden

Gaynor Minden hosts The Barre Flies as a service to the dance community, but this website is separate from the company’s and the opinions of the contributors are not necessarily the same as those of Gaynor Minden or its employees.

Photo by Gene Schiavone.

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