"The Sleeping Beauty"
American Ballet Theatre
Metropolitan Opera House
New York, NY
June 10, 2015, evening
At three plus hours, including two shortish intermissions, ABT's new "Sleeping Beauty" is long by today's standards, but in ballet heaven, it would be even longer, with the entr'acte music playing for a real panorama, more processions in the last act, and a grand transformation, à la the 1999 Mariinsky version, in the last act. Three hours is too short
Lydia Johnson Dance
"Barretts Mill Road: A Remembrance", "What Counts", "Untitled Bach", "Giving Way"
The Ailey Citigroup Theater
New York, NY
June 11, 2015
by Mary Cargill
copyright © 2015 by Mary Cargill
Finances being what they are, Lydia Johnson's small company danced to recorded music. Even so this ballet-based, contem- porary-inflected company is musically incisive and nuanced. Johnson's tastes are eclectic and this performance had music ranging from Bach and Mozart to modern jazz. Her company wears
"The Sleeping Beauty"
American Ballet Theatre
Metropolitan Opera House
New York, NY
May 29, 2015
Petipa, the father of classical ballet, choreographed "The Sleeping Beauty" in 1890, and this stupendous work has had a restless history at ABT. It does seem that the fourth time is the charm, and the new Ratmansky/Petipa version revealed some astoundingly beautiful choreography. It would probably take a ballet archeologist/time traveller to unravel all the choreographic layers, and though Ratmansky used the
“Giselle”
American Ballet Theatre
Metropolitan Opera House
New York, NY
May 27, 2015, matinee
There were lots of lilies the Wednesday afternoon Paloma Herrera gave her farewell performance in "Giselle", both in the ballet and on the stage afterwards. There was a lot of toiling and spinning too, though by and large the toiling didn't show. Herrera was a gentle and youthful Giselle, looking and dancing as if she were about 22, supported generously and lovingly by Roberto Bolle. ABT's
“Giselle”
American Ballet Theatre
Metropolitan Opera House
New York, NY
May 27, 2015, evening
Xiomara Reyes, like Paloma Herrera, bade farewell to ABT in a beautifully danced "Giselle". Reyes, with her Cuban training, has always been a moving and accomplished Giselle and needed to make no concession to time in her dancing; she looked strong and confident hopping through her first act solo. But her Giselle was so much more than technique, fine though her dancing was. She
"Bournonville Divertissements", "La Sylphide"
New York City Ballet
David H. Koch Theater
New York, NY
May 23, 2015, matinee
New York City Ballet hosted another "La Sylphide" debut as Lauren Lovette and Anthony Huxley danced the unfortunate couple on Saturday afternoon. Lovette is a dark-eyed beauty with an expressive face and a light, easy, airy jump and she used both to great effect. Her opening bourrées, as she skimmed over the stage, were particularly effective. Her sylph was
"Bournonville Divertissements", "La Sylphide"
New York City Ballet
David H. Koch Theater
New York, NY
May 16, 2015 Evening
The New York City Ballet's continuing crash course in Bournonville included a number of debuts and last minute changes; the results were somewhat mixed as the fleet, effortless, skimming steps seemed to flummox some of the dancers. Fortunately Taylor Stanley, leading the Ballabile in the opening of "Bournonville Divertissements," looked completely at home as the happy fisherman, dancing with a
"Les Sylphides", "Jardin aux Lilas", "Rodeo"
American Ballet Theatre
Metropolitan Opera House
New York, NY
May 13, 2015 matinee
ABT is showing off a number of its early productions in the first week of its spring season in honor of its 75th anniversary. Since the company is a comparatively recent convert to the full-length blockbuster approach to scheduling, the first week is made up of triple bills, always a hard sell to the Met's summer audience. These bills, however, are
"Bournonville Divertissements", "La Sylphide"
New York City Ballet
David H. Koch Theater
New York, NY
May 7, 2015
The New York City Ballet gala featured works by the 19th century Danish choreographer, August Bournonville, with a revival of the 1977 potpourri "Bournonville Divertissements" concocted by Stanley Williams, and the first performance of Peter Martins' staging of the full-length "La Sylphide". The pieces included in the divertissements have varied slightly over the years, as the luminously youthful pas de deux
A Tribute to Nijinksy
"Les Sylphides", "L'après-midi d'un Faune", "Petrushka"
Sarasota Ballet
Sarasota Opera House
Sarasota, Florida
May 1, 2015
The Sarasota Ballet's "Tribute to Nijinsky" program featured two works by Michel Fokine ("Les Sylphides" and "Petrushka") and one by the dancer ("L'après-midi d'un Faune"). These ballets are now over 100 years old, ancient history in the ballet world, but the Sarasota Ballet's scrupulously rehearsed performances were fresh. Live music, such a luxury in today's economy, certainly
"Agon", "Coming Together", "In the Mirror of Her Mind", "Return"
Dance Theatre of Harlem
City Center
New York, NY
April 10, 2015
The Dance Theatre of Harlem returned to City Center with a smaller company (18 dancers) than the one led by Arthur Mitchell (who, of course, graced the City Center stage with New York City Ballet for years). The new company, rapturously received by the audience, looked strong, happy and stylish, adjectives which unfortunately could not be applied to
"Sunset", "Eventide", "Piazzolla Caldera"
Paul Taylor's American Modern Dance
David H. Koch Theater
New York, NY
March 24, 2015
The newly named Paul Taylor's American Modern Dance looked, for tonight, very like the old Paul Taylor Dance Company, as the ensemble performed three of Taylor's haunting examinations human emotions, each anchored in a specific time; the first two, "Sunset" and "Eventide" make that clear in their titles, and the third, "Piazzolla Caldera" with its dark, dank atmosphere, is clearly set