Mary Cargill - danceviewtimes (Page 11)

New York City Ballet

In With the Old

"Haieff Divertimento", "Concertino", "Episodes", "Rodeo: Four Dance Episodes"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
February 6, 2020

New York City Ballet's February 6 performance was a look back, featuring two revivals (Balanchine's "Haieff Divertimento" from 1947 and Robbins' "Concertino" from 1982), a rarely performed solo from "Episodes" which was choreographed by Balanchine for Paul Taylor, then a member of the Martha Graham Company. (The first episode by Martha Graham for her

Twenty Years and Counting

Herman Cornejo: Celebrating 20 Years
Act II pas de deux from "Giselle", Second solo from "Apollo", "Sinatra Suite"
Studio 5
New York City Center
New York, New York
December 2, 2019

Alastair Macaulay's too brief stint as Studio 55 programmer ended with a salute to ABT dancer Herman Cornejo's twenty year career with the company. Cornejo himself selected the repertoire and the dancers (Skylar Brandt in "Giselle" and Luciana Paris in "Sinatra Suite"), which with characteristic modesty highlighted partnering

Nuts and Bolts

"The Art of Partnering"
Studio 5
New York City Center
New York, New York
November 25, 2019

The intimate and imaginative Studio 5 presentations give the audience, who sit in a semi-circle around the artists, fascinating glimpses into the creative process. This evening Alastair Macaulay, the former Chief Dance Critic of the "New York Times", put together a discussion on ballet partnering in three works by Balanchine with Jonathan Stafford, the Artistic Director of the New York City Ballet

Paul Taylor Dance Company

Dust to Dust

"Dust", "Private Domain", "Piazzolla Caldera"
Paul Taylor Dance Company
David H. Koch Theater
Lincoln Center
New York, New York
November 16, 2019, evening

The three Taylor works in this program were all, in different ways, sardonic but sympathetic observations of loneliness and isolation. This emotional downer did seem fitting, for this season is the final one for several Taylor dancers (Michelle Fleet, Parisa Khobdeh, Sean Mahoney, and Jamie Rae Walker – Robert Kleinendorst will retire later this year) and for

Paul Taylor Dance Company

Old Favorites

"Airs", "Sunset", "Syzygy"
Paul Taylor American Dance
David H. Koch Theater
Lincoln Center
New York, New York
November 9, 2019, evening

For its annual New York season the Taylor Company has not adopted the idea of themed triple bills, where the same dances are performed together. This may be easier on the schedulers, but it does limit and repertory, and a repertory as rich as Taylor's deserved to be seen from all angles. The Saturday night performance showed

Paul Taylor Dance Company

In Memorium

"Aureole", "Troilus and Cressida (reduced)", "Last Look", "Beloved Renegade"
Paul Taylor American Modern Dance
David H. Koch Theater
Lincoln Center
New York, New York
November 5, 2019

The second Paul Taylor Memorial Performance (the free event was given twice) included an impressive range of Taylor's works, from the sublime "Aureole", the silly "Troilus and Cressida (reduced)", the harrowing "Last Look", and ended with the new Artistic Director Michael Novak's farewell performance in "Beloved Renegade". He received a shower of

American Ballet Theatre

Let Them Eat Cake

"Theme and Variations", "Let Me Sing Forevermore", "A Gathering of Ghosts"
American Ballet Theatre
David H. Koch Theater
Lincoln Center
New York, New York
October 16, 2019

ABT's Fall gala abandoned the usual trappings – not a fouetté in sight – though there were some extended speeches, especially the one from Lisa Lutoff-Perlo, the president of Celebrity Cruises, in which she quoted statistics showing the small number of current female choreographers and touting the fact that the ABT gala featured works by

Potpourri

"Eleven", "Dans l'Engrenage", "Shadow Lands", "Salvaje"
Fall for Dance, Program 2
New York City Center
New York, New York
October 3, 2019

The second program of Fall for Dance opened and closed with live music, a rare luxury nowadays. Mark Morris' women dominated the opening dance and the final performance was an all male affair from the Argentine group Malevo. The two middle pieces had mixed casts, (very loud) recorded music, a lot of energy, and some fairly

New York City Ballet

Fresh Faces

"Valse-Fantaisie", Kammermusik No. 2", "Union Jack"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
October 1, 2019

This Balanchine triple bill showed a breathtaking variety of styles, as well as an impressive number of fearless, accomplished debuts, especially in the exacting "Union Jack" with its phalanxes of precision marchers. There was no marching in "Valse-Fantaisie", Balanchine's 1967 spun sugar valentine set to Glinka's lilting, sweeping melodies. This extended pas de deux, augmented

A Tasting Menu

The Bournonville Legacy
"La Sylphide, Act II", "A Bournonville Square: pas de trois from 'The King's Volunteers on Amager', Jockey Dance from 'From Siberia to Moscow', the street singer from 'Napoli', pas de deux from 'Kermesse in Bruges', pas de six and tarantella from 'Napoli'
Members of the Royal Danish Ballet
Joyce Theater
New York, New York
July 9, 2019

Ulrik Birkkjaer, formerly with the Royal Danish Ballet and now dancing with the San Francisco Ballet, has put together a

American Ballet Theatre

Accent on Youth

"The Sleeping Beauty"
American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
July 6, 2019, evening

ABT's final performance of its spring season starred two of its group of talented soloists, Cassandra Trenary and Joseph Gorak, as Aurora and her prince. The only principal on view that evening was Stella Abrera as the Lilac Fairy; her arch enemy Carabosse was Craig Salstein, a former ABT soloist who left the company a year ago. The ballet is

New York City Ballet

Wide Awake

"The Sleeping Beauty"
American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
July 3, 2019, evening

Unlike Aurora, Alexei Ratmansky's 2015 production of Petipa's "The Sleeping Beauty" doesn't believe in long naps, and Ratmansky has added and subtracted elements over its brief life. This scrupulous attention to detail seems to keep the company awake and fresh, and the dancing, highlighted by Hee Seo's lyrical Aurora and Aran Bell's noble prince, was enticing. Ratmansky's version is a

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