Absence makes the heart grow fonder, so they say. So it is with ABT, which instead of two weeks at City Center this fall, did a handful of performances last week at Avery Fisher Hall. Making it perhaps even worse is seeing just one show, a reminder of how special their fall seasons can be, when they perform contemporary work and the younger company has a chance to be featured. This program included three new commissions by Alex Ratmansky, Aszure Barton, and Benjamin Millepied, all set to live music played onstage.

Ratmansky’s Seven Sonatas (to Scarlatti) led off. read more

The Guggenheim’s Works & Process series has evolved into a commissioning entity producing some fascinating new work. Until recent years, it was more akin to a lecture/demo format, with a casual atmosphere where the dancers wore rehearsal clothes. It often featured excerpts of works that would be seen elsewhere, on a larger stage; some events still follow this format. But as the fall season’s inaugural show featuring choreography by Peter Quanz and Larry Keigwin demonstrated, it is capable of producing some inspired new choreographic work.

The program last weekend, Steve Reich Interpreted, featured dances set to the same Reich composition, Double Sextet (2007). Peter Quanz, of the Royal Winnipeg Ballet, created the ballet In Tandem that seemed to stretch the physical limits of the distinctive, if oddball, theater at the Guggenheim, which is all circles, and quite small at that. read more

The great German choreographer Pina Bausch passed away on June 29 within a brutally short week of a cancer diagnosis, at 68 years of age. It was a terrible shock to the world of dance and performance—the end of an era and the sudden, cold beginning of another without her.

Her pieces, performed by Tanztheater Wuppertal Pina Bausch, a company of characters more intriguing than Dickens’, were life magnified—passionate, dirty, beautiful, violent, and crazy. A lot of their actions seemed more like rituals of torture than dance. But it was definitely theater, set to expansive musical collages, in various Peter Pabst arrangements of dirt and water, among a fallen wall of concrete blocks which we witnessed crashing down, a field of carnations, a human-scaled terrarium. read more

Keigwin + Company and nicholas leichter dance, two very appealing New York-based companies, take over the Joyce the week of June 23, alternating dates through Sunday the 28th. Both groups, led by accomplished choreographers who are unafraid to experiment, have tremendous popular appeal. Coincidentally, Nicholas Leichter and Larry Keigwin happen to be among the most riveting performers of our time; both will dance with their respective companies. What’s more, if you go to one or both, you’ll have fun.

Leichter, who founded his company in 1996, infuses his dances with an irrepressible musicality and freely blends wildly disparate dance styles. Recently, he has choreographed to compositions by Debussy and Stravinsky; at the Joyce, in the premiere of Killa, he returns to pop music. Leichter’s work can be enjoyed on many levels—of course, purely on the sensory level, but audiences can also look for a conceptual underpinning there for the mining. read more

Lincoln Center has become an elder statesman of New York. At least, that’s the conclusion I reached after coming back from the opening celebration that just concluded yesterday morning at Alice Tully Hall—the kickoff event of “Lincoln Center 50 Years.” The event felt the way I imagine the annual Al Smith Dinner feels. That is, you put a bunch of power players in the same room and give each of them the floor for about five minutes. Big applause after each one finishes.

Here, attention was paid to important people like David Rockefeller—brother of the late John D. Rockefeller III, who spearheaded the campaign to create Lincoln Center—who acknowledged applause from his seat in the audience. Among those in Tully Hall were members of Lincoln Center’s twelve resident organizations and students from the inaugural graduating class of local High School for Arts, Imagination, and Inquiry (founded by the Lincoln Center Institute), who cheered loudly when their school was mentioned. Architect Liz Diller of Diller Scofidio + Renfro (co-architects of Tully Hall with FXFOWLE Architects) was seen flitting about the room, smiling and chatting.

The morning started with Copland’s “Fanfare for the Common Man,” performed by the definitely uncommon brass players and percussionists from the New York Philharmonic. Emcee for the event—which was streamed live—was journalist Tom Brokaw, himself an elder statesman. read more