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Harriet Jung

New York City Center Fall for Dance 2022: Program 4

October 3, 2022

"Men of Kyiv," choreographed to high-spirited traditional folk music by Pavlo Virsky, pitted two groups of men—one wearing blue T-shirts, the other yellow, the colors of the Ukrainian national flag—against each other in a friendly, boisterous competition which began with a high-kicking entrance mazurka.  This was followed by one exhibition of prowess after another:  barrel turns, high cheerleader jumps, kazatskis, split leaps and unison chain dances.  It was almost as exhausting to watch as it was to dance and it left the audience totally in love with this good-natured dance troupe. [more]

Four Quartets

February 14, 2022

In her selection of the movements and structure of "Four Quartets," Tamowitz chose to ignore the depth and imagery of the poems, producing a cool Merce Cunningham-like ballet that glided along beautifully on the surface of Eliot’s heavy, sometimes distasteful, imagery.  Movements were balletic, full of arabesques, skittery connecting steps, soft leaps and jumps. She built the work upon a series of steps and phrases that are repeated in various ways: jumped, turned, performed alone, performed in unison and performed in reverse.  One salient image was that of a dancer jumping into the arms of another.  Other than that there was very little touching.  The barefoot dancers often mimicked each other or performed side by side.  Only two duets occurred, one quite long near the end, watched by the other cast members gathered at the corners of the set. [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]

The Tenant

November 12, 2018

Whiteside isn’t exactly misused, but rather underused and under coached.  No one should have laughed when he began his transformation into his female alterego.  Whiteside, used to the broader acting style of ballets on huge stages, can’t seem to find the telling details of his drastic, paranoid morphing into Simone of the death wish, not helped by the steps nor the direction he has (or has not) been given.  Whiteside appeared practically emotionless as he stared into a mirror—actually the audience—as he adjusted his very bad wig, applied more lipstick, stripped naked, tucked and put on a Whiteside-sized version of the dress that Simone wore when she flew off the top of Pita’s well-designed, complex set. [more]

Doug Varone and Dancers: Spring 2017 Season

April 2, 2017

Varone employs movements loosely flung out from the body’s core; sudden, inexplicable pauses; (painful looking) drops to the floor (usually onto a knee!); contrasting chaotic activities with stillness, high with low and slow with fast. There is a sense—clearly mistaken—that the choreography is improvised which makes for unfocused and nervous stage pictures. The fact that his dancers, a diverse bunch, wear his movement style like a second skin adds an excitement to his ballets. They seem born to his particular style and give it an offhanded grace, looking more like people moving rather than dancers. [more]