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Dance

The Victory Dance Project: First Anniversary Celebration

June 8, 2015

To celebrate The Victory Dance Project’s first anniversary, an inspiring and spirited program was presented at The Ailey Citigroup Theater. There was a selection of the company’s dazzling dances and their First Annual Artist for Peace award was presented to Renee Robinson. The personable and entertaining comedian Grant Cooper hosted the event. Mr. Cooper did a funny routine about an imaginary audition for The Alvin Ailey Company with clunky movements. Though humorous, as befitting the occasion he was often serious. [more]

The School of American Ballet 2015 Workshop Performances

June 4, 2015

The annual School of American Ballet Workshop performances are more than occasions for fundraising. They are a chance to see the next generation of classical ballet dancers in what we hope will soon be their native habitat, the stage. The programs are optimism incarnate, an opportunity to believe in the future of dance. [more]

The Deborah Zall Project: “In the Company of Women”

May 26, 2015

Deborah Zall has been a presence in the modern dance scene, specifically in the Martha Graham orbit, for decades. Recently, after years of relative obscurity, she has emerged as an important choreographer, the keeper of the dramatic Graham tradition. Several current and former Graham dancers, wanting new experiences and challenges, asked Ms. Zall to stage some of her dramatic solos for them. The result was an evening of intriguing small-scale works by Ms. Zall with the addition of a solo created by Graham veteran Kenneth Topping which provided a bit of comic relief, albeit sardonic comic relief. [more]

Street Singer – Celebrating the Life of Edith Piaf

May 17, 2015

Mr. Rioult, a French native, has Piaf’s music in his bloodstream. His "Street Singer" also using RIOULT Dance NY started and ended with the song most identified with her, “Non, Je Ne Regrette Rien” (Charles Dumont/Michel Vaucaire). The first time, as Piaf relates her poverty-stricken, backstreet upbringing, the Rioult dancers, did sexually suggestive apache dances (costumed by Pilar Limosner whose other outfits economically suggested the period). By the time the song is repeated at the very end, a worn-out Piaf can barely get out the words and these same dancers, in the same costumes, seem to be haunting her. [more]

Steps Repertory Ensemble 2015

May 8, 2015

The Steps Repertory Ensemble is full of beautiful dancers, refreshingly, of all physical types. Yet, they move like a company all on the same beam, which is to Mr. Shelver’s credit. But, for goodness sake, lighten up, guys. You’re young, beautiful and talented, why not enjoy it? [more]

Patricia Noworol Dance Theater: “Replacement Place”

May 6, 2015

Four intensively self-involved, but personable, performers meandered on and off the stage which was glaringly lit by the geometrically arranged fluorescent bulbs designed by Barbara Samuels, their paths only occasionally crossing. Each was given or created a simple movement theme: one a stomping walk, another a finger snapping hip sway and a third some steamy hip-hop movement, complete with the usual badly rhymed “poetry” and a plethora of N- and F-words. [more]

Christopher Wheeldon in Conversation with Rita Moreno: From Ballet to Broadway

April 30, 2015

On April 27, Symphony Space and Words on Dance presented “Christopher Wheeldon in Conversation with Rita Moreno: From Ballet to Broadway,” a delightful romp through the dancing career of one of Broadway’s brightest choreographers. The lecture was moderated and led by Oscar, Emmy, Tony and Grammy winning actor-singer-dancer Rita Moreno. Moreno’s conversation with Wheeldon was prompted by a series of film clips featuring him as a young dancer as well as brief segments of his past choreographic work with the New York City Ballet, the San Francisco Ballet, the Royal Ballet, the Joffrey Ballet, the Wheeldon Company, and his most current work in the new Broadway production of "An American In Paris" where he serves as both director and choreographer. It is the fusion of his classical European ballet training, his love for American music, American dance stars, and American dance that Wheeldon has established himself as a leading force in the world of dance. [more]

Ballet Hispanico New York Season 2015

April 24, 2015

The Ballet Hispanico has long been revered as a beacon of dance art in the Latino community. Its school and repertory have helped illuminate the Latino experience while instilling the discipline and joy of dance, particularly under the direction of its founder, Tina Ramírez. Eduardo Vilaro, the troupe’s artistic director, seems to be slowly turning the company away from ethnic exploration towards the generic modern dance aesthetic of companies like Complexions and the soon-to-be-defunct Cedar Lake Contemporary Ballet. Although the three works on this program were choreographed by Hispanic artists to music by Spanish-influenced composers with themes seemingly concerning the nature of Latino behavior, the impression was of a company working hard to find a choreographic aesthetic that can satisfy its identifying with both the Latino community and the newer ideals of modern dance, only partly succeeding. He may eventually find this balance between the two ideals. Certainly he has an absolutely brilliant company of good-looking, talented dancers to work with. [more]

Paul Taylor’s American Modern Dance 2015

April 4, 2015

What became clear over the course of the four performances under review attended were the subtle changes in Mr. Taylor’s work over the years, how his works have become less deep and more oddball. This was a terrific way to see everything from his delightfully lovely “white” ballet, “Aureole” (1962), to his most recent opus, “Death and the Damsel,” a dark, distorted—sadistic, even—view of female sexuality. No matter what period the works come from, and no matter what one thinks of them, they are always models of craftsmanship, design and musicality. [more]
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