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Dance

Parsons Dance: Fall 2021 Season

December 10, 2021

Parsons’ first work on the program was the tour de force solo “Balance of Power” performed by the phenomenal Zoey Anderson.  Clad in Barbara Erin Delo’s brilliantly colored tight costume—the bright red left sleeve particularly inventive—Anderson first appeared upside down in a golden spotlight. (Lighting by Chambers.) As she turned right side up, she began undulating to Giancarlo De Trizio’s sparkling score, her body reacting to every nuance of the quite rhythmic music.  Parsons unloaded hundreds of difficult tiny movements on her which she performed with skill and allure, stopping the show with her quickness and sensuality. [more]

Twyla Now

November 22, 2021

After a pause, there was the world premiere of "Second Duet." It was the most dramatic and emotional dance of the program. Wearing sneakers and casual sportswear, Cassandra Trenary and Aran Bell of American Ballet Theatre were the handsome couple whose tempestuous and turbulent relationship ranged from argumentative to violent to clinging and physically dependent. Tharp’s choreography included complicated partnering in which elements of the relationship were uncomfortable and disturbing, or sometimes amusing (as an example, Trenary stood solidly and dared Bell to just try and pick her up). Without an actual story line, the dance was emotionally charged, revealing and riveting. Trenary and Bell gorgeously performed the complex choreography. Looking more like members of a modern dance troupe than classical ballet dancers, they brought emotional depth as well as physical ability to this taxing piece of work. A modern music mix by Thomas Larcher and Aztec Camera played by the musicians Stephen Gosling (piano) and Gabriel Gabezas (cello) was sometimes as appropriately discordant as the relationship. [more]

Ziel Dance Theater: “Freedom ≠ Britney”

October 31, 2021

“Work Bitch,” “Oops! I Did It Again” and “Gimme More” are also among the choice hits included in the show’s delirious soundtrack, interspersed with audio statements by Britney Spears. [more]

Ziel Dance Theater: “And There it Was”

October 25, 2021

Magnificent leaps, graceful gestures with his hands and arms, grand turns, and Martial Arts-style moves are all to be experienced by Tomislav Nevistic’s exceptional modern dance technique. His choreography recalls the texture of Martha Graham, Paul Taylor’s wit and Twyla Tharp’s jauntiness. [more]

New York City Center’s 2021 Fall for Dance Festival – Program 5

October 25, 2021

For something completely different, New York City Center commissioned and presented Ayodele Casel’s tap dance company for the world premiere of "Where We Dwell." A crowd-pleasing, often rousing production of tap-dancing choreography, it highlighted the various ways that tap dancing can entertain and enlighten. Amplified, it was astonishing to hear all the sounds created by tap shoes on the feet of extraordinarily gifted dancers. [more]

Lucinda Childs’ “Dance” at The Joyce Theater

October 21, 2021

Before the dancers appeared live, "Dance" commenced with a burst of Glass’ iconic, pulsating music—here pre-recorded, originally performed live—and a still from LeWitt’s original video projected onto a scrim which covered the entire stage opening.  LeWitt’s videos, intimate contributions to the work, also served to honor the performances of the original cast:  Childs, Graham Conley, Cynthia Hedstrom, Erin Matthiessen, Daniel McCusker, Susan Osberg, Judy Padow, Ande Peck and Megan Walker. [more]

New York City Center’s 2021 Fall for Dance Festival: Programs 1 and 2

October 19, 2021

The final work on Program 1 was its finest.  A.I.M. By Kyle Abraham presented its director’s “Our Indigo: If We Were a Love Song,” a deeply moving paean to the darker meanings of love.  It was choreographed to Nina Simone’s glorious renditions of six songs in which she wrapped her moving contralto around the lyrics of “Don’t Explain,” “Black is the Color of My True Love’s Hair,” and “Little Girl Blue.” The opening moments found the seven-member cast gathered in a dramatically lit upstage corner—moody lighting designed by Dan Scully—bending and reaching, dispersing only to return to their sculptural starting image. [more]

Denishawn: Dances by Ruth St. Denis & Ted Shawn

October 3, 2021

The dances on this program are perfect examples of the Denishawn aesthetic which combined what was then exoticism with impeccable theatricality.  The Denishawn troupe was very much of its time, the early twentieth century. The modern dance giants that came out of this artistic sensibility—Martha Graham, Doris Humphrey and Charles Weidman in particular—revolted against the exoticism to find a modern way of expressing themselves through movement, the way that artists who were their contemporaries put distance between them and the Impressionists.  These modern dance pioneers learned the ins and outs of dramatic presentation as they forged new dance forms. [more]

Ragamala Dance Company: Fires of Varanasi: Dance of the Eternal Pilgrim

September 25, 2021

As the opaquely complicated plot played out on the stage, the three lead dancers (Ranee, Aparna and Ashwini Ramaswamy) took turns displaying impeccable Bharatanatyam technique:  feet adorned with ghungroos (ankle bells), softly pounding out clear rhythms in varied positions, arms, exquisitely expressive, moving in striking patterns topped by constantly changing hand positions (mudras) which communicated character, mood and, to some extent, the story as it unfolded. [more]

BAAND Together Dance Festival at Lincoln Center

August 20, 2021

It’s unlikely that New York City will ever see these five troupes sharing a stage again.  This was a festive occasion despite being uneven in tone and not particularly representative of at least two of the large dance companies. Pretentious program notes were fortunately only available online so that they couldn’t mar the visceral enjoyment of several of these works in Program One. ... Each evening of the BAAND Together Dance Festival will feature a different program with contributions from each of these five wonderful dance companies. [more]

New Chamber Ballet: “Sea” & “Sun”

May 31, 2021

“Sea,” according to Magloire’s program notes is “loosely inspired by the movement of waves.”  Five dancers—Anabel Alpert, Megan Foley, Amber Neff, Rachele Perla and Alison Tatsuoka-dressed in Sarah Thea’s beautifully flowing blue costumes, certainly moved in ways that were wavelike, but they also seemed to be performing a constantly shifting ritual that eased from quietly intense to agitated and back—from languor to vigor. [more]

Ephrat Asherie Dance: “Odeon”

April 16, 2021

Ephrat “Bounce” Asherie, the artistic director of the effervescent Ephrat Asherie Dance (EAD) has absorbed the disciplines of a number of dance forms:  hip-hop, breaking, Latin-American and Vogue.  She skillfully and wittily scanned all of these into Odeon, a 105-minute long work that showed off her six member troupe. They—including Asherie—danced with a verve, if not native authenticity, that matched the Brazilian-tinged score by Ernesto Nazareth, here interpreted by an on stage four-member band under the musical direction of Ehud Asherie. [more]

Alpha Omega Theatrical Dance Company: “Solo Suites”

October 21, 2020

Now directed by the energetic and warm Enrique Cruz DeJesus, Alpha Omega provided welcome relief from months of quarantine and angst with “Solo Suites,” a breezy—in every sense of the word—outdoor, healthily spaced program created by three choreographers who have had the privilege of working in this inviting space, a beautifully appointed home base in the East Village. Now directed by the energetic and warm Enrique Cruz DeJesus, Alpha Omega provided welcome relief from months of quarantine and angst with “Solo Suites,” a breezy—in every sense of the word—outdoor, healthily spaced program created by three choreographers who have had the privilege of working in this inviting space, a beautifully appointed home base in the East Village. These three choreographers presented four solos as the carefully spaced, masked and wine imbibing audience watched as breezes swept up the costumes. After calmly (and professionally) enduring a minor audio snafu, Ari Mayzick opened the program with his “Orphée,” a tense study of grief, an intense take on the Orpheus and Eurydice legend. [more]

Sokolow Theatre/Dance Ensemble: “Rooms2020”

July 20, 2020

“Rooms2020” was to have been presented in a live season which was aborted by the current Covid crisis. Instead, the troupe has presented the work artfully streamed in a version that is more realistic, each section filmed by the dancers themselves and edited with artistic precision and a feeling for its dramatic arc by associate artistic director Lauren Naslund to make a cogent whole. (The other directors are the founder Jim May, Samantha Geracht and Eleanor Bunker.) [more]

Nederlands Dans Theater 2020

March 12, 2020

If one were to come to conclusions about the Netherlands after seeing the three ballets presented by the Nederlands Dans Theater at the New York City Center, the Netherlands would clearly come off as a place of doom and gloom where relationships are expressed by tossing each other around or totally avoiding contact. This world-class dance troupe is always welcome, but one has to wonder who programmed this mini-season.  Of course, the company’s artistic director Paul Lightfoot who co-choreographed one of these works has to have been the driving force in putting this show together. [more]

Ballet Vlaanderen

March 6, 2020

Ballet Vlaanderen was founded in 1969 by dancer/choreographer Jeanne Brabants, and the present artistic director since 2015 is Sidi Larbi Cherkaoui, who is known for his own award-winning choreography. Under his direction, the Flemish company, based in two places, Antwerp and Ghent, is dedicated to creating innovative new pieces and bringing important works to the stage. Stylistically, the company bridges the gap between ballet and modern dance. For their presentation at The Joyce Theater (March 3-7, 2020), Ballet Vlaanderen danced three pieces: "Kaash," "Faun," and "Ten Duets on a Theme of Rescue. " [more]

CunningGraham Technique Comparison

February 9, 2020

Hosted by the Graham Company’s elegant director Janet Eilber, the program began with some historical comments after which two groups of dancers, one representing the Graham technique from Graham 2 and the other the Cunningham technique from the Merce Cunningham Trust entered the large studio/theater.  They performed parallel exercise routines, the Graham side guided by Virginie Mécène, Graham 2’s director and former Graham star and the Cunningham contingent guided by two former Cunningham members Jennifer Goggans and the aforementioned filmmaker Madoff. [more]

Matthew Bourne’s Swan Lake

February 5, 2020

“The legend returns” claimed the fliers and posters for "Matthew Bourne’s Swan Lake"’s short season at the New York City Center.  That proclamation wasn’t far from the truth.  "Swan Lake" is definitely Bourne’s most famous and prolifically performed work from a repertory that includes "Edward Scissorhands," "Sleeping Beauty" and "The Red Shoes," all having made touchdowns in New York City with varying success.  Only his "Swan Lake" has caught the imagination of audiences throughout the world despite its daring take on a beloved classic. [more]

Grand Swan Lake (Shanghai Ballet)

January 20, 2020

A recent iteration of the classic ballet "Swan Lake" was staged by Derek Deane and danced by the Shanghai Ballet and presented by the Shanghai Ballet with China Arts and Entertainment Group Ltd. at the David H. Koch Theater at Lincoln Center. The company called their version "Grand Swan Lake" because it promised to be bigger than any other, at least in the number of dancers on the stage. But was bigger any better? Actually, yes. I assumed that using 48 swans was just a gimmick to get attention, but it was a very effective dramatic device. Forty-eight white tutus in moving formation was impressive, and in the last act, all those swans magically rising up through the fog was really breathtaking, a memorably dramatic visual. [more]

Dorrance Dance: The Nutcracker Suite

December 23, 2019

The music included the catchy, familiar tunes of "The Nutcracker Suite" by Peter Ilyich Tchaikovsky, first featured in classical ballet. The Dorrance version uses the absolutely wonderful jazz arrangement by Duke Ellington and Billy Strayhorn. No doubt the music would have been enhanced with a live orchestra, but one assumes that there was neither the budget nor the space for a Big Band orchestra. Nonetheless, the music is a marvelous interpretation, providing the perfect accompaniment for tap dancing – and certainly worth hearing again on its own. On occasion, however, there is no music, just the rhythmic sounds of tap dancing providing its own accompaniment. [more]

ZviDance: MAIM (“Water” in Hebrew)

December 19, 2019

Israeli-born choreographer Zvi Gotheiner created "Maim ('Water' in Hebrew)," a somber meditation on water, drought, misery, community and survival for seven members of ZviDance, all brilliant dancers with clearly defined personalities. Somehow, in under an hour, Gotheiner managed to dredge up memories and images of his early life on a kibbutz and how valuable water was in the life of his community.  That, added to the current climate crisis’ causing drastic drought concerns, stimulated him to produce "MAIM ('Water' in Hebrew)." [more]

Peter & the Wolf

December 13, 2019

Ensemble Signal, Marjorie Folkman, Daniel Pettrow and Kristen Foote in a scene from “Peter & [more]

The Chase Brock Experience: “The Four Seasons”

November 27, 2019

His more abstract ballets for The Chase Brock Experience, such as its current presentation at Theatre Row, "The Four Seasons" to the Vivaldi score (a revival from 2006), did not fare quite as well.  Despite the fact that "The Four Seasons" had some spoken text (by David Zellnick) and an environmental subtext, the majority of the work was a pretty, but slightly anemic balletic expression of the famous (over-used?) score. [more]

Alpha Omega Theatrical Dance Company: Bittersweet, Tormenta, Tabernacle and Las Desenarmoradas

November 19, 2019

Artistic director Enrique Cruz DeJesus presented a performance of Alpha Omega in preparation for the troupe’s fiftieth anniversary season next year.  This concert featured two works by the brilliant modern dance choreography Eleo Pomare whose works have, for some reason, been neglected for years.  Mr. Cruz DeJesus also presented two of his works, “Bittersweet” and “Tormenta.” [more]

Tiffany Mills Company: “Not then, not yet”

November 16, 2019

Tiffany Mills’ "Not then, not yet," a world premiere dance/theater work at The Flea proposed a dark, slightly chaotic view of relationships and alienation choreographed on her own troupe, the Tiffany Mills Company. Only 45 minutes long, Not then, not yet was dense with activity and glum interactions among the six dancers (including Mills) and singer Muriel Louveau who composed the erratically performed score, co-written with Angélica Negrón. [more]

Houston Ballet: Fall 2019

October 29, 2019

The first piece on the program was the most successful of the three: Mark Morris’ “The Letter V”. (There was no mention of any specific meaning of the title.)  The classical music composition “Symphony No. 88 in G Major” by Joseph Haydn provided a substantial underpinning for the choreography because Morris had a beautifully uncanny way of making the movement seem to rise up from the music. The Orchestra of St. Luke’s, conducted by David Briskin, provided the fine, live, performance. Morris, in fact, always insists on live music, and that added so much to the experience. [more]

Mette Ingvartsen: “to come (extended)”

October 27, 2019

Last seen in New York in 2017, Danish choreographer Mette Ingvartsen has brought a newish work, "to come (extended)" to NYU Skirball Center.  To come (extended) is actually a reworking and expansion of an earlier work. Unfortunately, Ms. Ingvartsen appears to be in a rut, a deep, monotonous sexual rut. She considers herself the one-woman expert analyzer of all things sexual via her repetitive choreography.  Indeed, her work includes nudity and explicit sexuality (all forms of intercourse between every combination of genders, oral sex, group sex, etc.) all extremely unexciting, in fact, quite boring. [more]

Fall for Dance 2019: Program 5

October 16, 2019

Monica Bill Barnes totally changed the mood with her thoroughly delightful “The Running Show” which used physical contests as a metaphor for dance.  Barnes stood in the midst of sixteen students from Hunter College as her creative partner, Robbie Saenz de Viteri acted as a sports announcer, egging the large group on as they performed complicated patterns of finger snapping. Saenz de Viteri was the backbone of “The Running Show,” his narration, in turn witty, humorous and deeply thoughtful, drove the action which included more competitions; Barnes trying to beat her turning record; and an appearance of a young ballet dancer, Charlotte Anub.  She was clearly too young to dance on point, but she had a natural stage presence as she turned and performed basic pointe work, charming the audience.  “The Running Show” left a positive buzz in the audience, casting a quiet spell. [more]

Fall for Dance 2019: Program 4

October 14, 2019

The final work, “Unveiling” by Sonya Tayeh, director of Tayeh Dance, known now as the choreographer of the Broadway hit 'Moulin Rouge!," used a trio which appeared to be about a female (the American Ballet Theatre star, Stella Abrera) an interloper interfering with a gay relationship between Robbie Fairchild (formerly of the New York City Ballet and the star of An American in Paris on Broadway and the West End in London) and Gabe Stone Shayer. What made “Unveiling” the hit that it proved to be was the music performed live by the super-humanly talented Moses Sumney who stood on a small platform singing, wailing, thumping, rattling and otherwise issuing a spectrum of gorgeous sounds that supported Tayeh’s complicated portrait. [more]

Fall for Dance 2019: Program 3

October 9, 2019

The Mariinsky Ballet performed the U.S. premiere of “At the Wrong Time,” which had been choreographed by Alexander Sergeev and had its world premiere March 26, 2019 in St. Petersburg, Russia, at the Mariinsky Theatre.  The curtain rose to display a piano. A young man, Vladimir Rumyanstev, turned out to be the pianist who was waiting for a ballerina. Once she arrived, the music could begin. Eventually there were three ballerinas and three partners. The women wore pointe shoes and brightly colored dresses that were cleverly designed by Daria Pavlenko to appear simple but that allowed easy movement. Their partners wore dark shirts and pants. [more]

BalletX: The Little Prince

October 3, 2019

Antoine de Saint-Exupéry’s "The Little Prince" (1943) has been studied, analyzed, and staged as any number of plays, ballets, musicals and an unsuccessful film.  So, it was with great interest that I went to BalletX’s The Little Prince choreographed by fast-rising choreographer Anabelle Lopez Ochoa to a brilliant score composed and miraculously played by Peter Salem. BalletX, directed by the forward looking Christine Cox, is a modern ballet troupe stationed 90 minutes south of New York in Philadelphia.  The troupe combines classical ballet with modern dance and, in the case of the Little Prince, mime, singing, speaking and twisty modern dance. [more]
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