New York regularly plays host to ballet companies from smaller cities. It’s an oft brutal undertaking for the visitors. The old lyric/trope—“if you can make it here, you can make it anywhere”—holds some truth, although many a company manages just fine by avoiding New York City. Tulsa Ballet finally took the plunge after a 25 year hiatus, and the one lingering question is, what took them so long?
The company performed at the Joyce, flattering venue to many visiting companies, although the rep performed could use a larger stage. Nonetheless, the three works shown showed off the group’s assets. Kenneth MacMillan’s Elite Syncopations (1974) felt more like a party than a dance, in no small part due to Ian Spurling’s fantastic mock evening wear, mainly unitards of brilliant colors and patterns. Pairs and groups of varying number took centerstage as the others ringed the periphery. Karina Gonzalez, in a sleek white costume, dazzled with her fine technique and cool, yet riveting stage presence. read more
In the shadow of American Ballet Theatre’s season-closing performances of Romeo and Juliet, a few weeks after New York City Ballet ended its spring season, it’s time to take a deep breath. The trope that while NYCB has the rep, ABT has the dancers still holds true to some extent, although it is eroding on both sides. ABT prides itself on emphasizing the word “theatre” in its name, evident in the reprisal of story ballets such as Swan Lake and Le Corsaire. But naming Alexei Ratmansky as Artist in Residence was kind of like winning the lottery for ABT, which has repeatedly attempted to add contemporary choreography to its canon, with mixed results. This season, Artistic Director Kevin McKenzie included Paul Taylor’s Airs in this year’s rep, an ideal blend of modern and classical for this company.
Ratmansky created Russian Seasons and Concerto DSCH for NYCB, which hoped he would stay on as resident choreographer. Both were successes and fit the company and its Balanchine pedigree well. read more
Ah, New York, the ring of fire that all good ballet companies must eventually jump through, despite facing large financial hurdles (well, chasms, actually) and a critical gauntlet. Miami City Ballet makes its first major New York run at City Center from Jan 21-25, and artistic Edward Villella is bringing the big stuff in two programs: Balanchine, plus a Tharp.
Other than the very largest and most prominent (such as NYCB and the Kirov) only a few companies around the world have reputations for performing Balanchine to exacting standards, and MCB is one of them (Suzanne Farrell’s company, based in DC, is another). read more
If you’ve been hibernating in a cave, here’s some good news: Alvin Ailey American Dance Theater is celebrating its 50th anniversary. (Don’t ask about the bad news. Just go back in the cave, fast.) You can only tip your hat to the juggernaut they’ve become, what with street namings, Barbie dolls, guesting on Dancing with the Stars, world tour dates, Oprah headlining their gala, and more. After all, at heart, Ailey’s style has wide appeal, but with its pedigreed modern dance roots, it is hardly akin to the slick stuff often seen on So You Think You Can Dance.
At a recent performance, I was pleased to see the crowd, but somewhat dismayed when they erupted in applause at every split, leap, or turn of moderate difficulty. Accomplishments should be acknowledged, but it felt somewhat self-congratulatory. Back and forth I go, simultaneously gleeful at the company’s popularity for the sake of dance and the fantastic company, and a bit chagrined at the abject commercialism. But you can’t argue with success. read more
A list of holiday traditions in New York runs longer than my arm, but two are essential. One is New York City Ballet’s Nutcracker, which always conjures seasonal spirit, even in annual viewings. Another is Doug Elkins’ Fraulein Maria at The Public Theater’s Joe’s Pub, which couldn’t be more of a contrast, but which left me ridiculously giddy. At heart, they sum up the best of the city at holiday time. Any time, really.
The first act of George Balanchine’s Nutcracker, to Tchaikovsky’s iconic score, shows that it was created in a different era. read more
ABT’s big New York season takes place in the summer, when they mainly feature lavish productions of well-known ballets such as Swan Lake and La Bayadère. But their annual two-week City Center seasons are often more exciting, featuring contemporary choreographers’ work, or smaller-scaled repertory. Also, frequently cast in prominent roles are younger company members who might be hidden beneath wigs or carrying a spear at the Met.
This fall’s run, Oct 21 - Nov 2, features choreography by Antony Tudor, whose work looks wonderful on ABT. The City Center stage is also just the right size for his poetic, often searingly dramatic or comedic ballets. read more
New York City is a tour date for many of the world’s leading ballet companies, if only once every decade (ahem, Kirov). But stick around long enough and there’s a pretty good chance you’ll catch lots of them. But the city’s native ballet scene has brightened in recent years. Twyla Tharp has created new work (such as Rabbit and Rogue for ABT) to be seen along with older repertory by a variety of companies; Karole Armitage has returned from Europe to create some serious work with her dynamic company; and rising choreographers have received support and exposure from both New York City Ballet’s Diamond Project, ABT, and Cedar Lake Contemporary Ballet.
But the biggest news in the last two years has been the founding of Christopher Wheeldon’s company Morphoses, and the recent appointment of Alexei Ratmansky as resident choreographer at ABT. Morphoses recently had its second annual season at City Center. read more
Most of us don’t have the opportunity to be in Beijing for the Olympics, but Cedar Lake Contemporary Ballet’s new work – The Copier, by Jill Johnson – might satisfy the interests of at least a few fans. The company’s dancers are essentially world-class athletes, capable of doing things most of us can’t even dream of. Like Olympians, they train and perform at an unbelievable level, their technique and musculature superb. These are easily observed as you can sit or stand very close as they hurtle at you or lock a pose mere inches away.
The Copier is part of Cedar Lake’s Installation Series, an innovative (for New York), less formal type of performance where the audience members are not seated in fixed positions, but may roam around the T-shaped platform stage, or sit on the floor or small risers. read more
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