"The Garden of Villandry", "Sinatra Suite", "Private Light", "In the Upper Room"
American Ballet Theatre
New York City Center
New York, NY
November 8, 2011
ABT opened its weeklong City Center program with a gala completely bereft of fouettes, and a minimum of point shoes. The brief welcoming speech by Kevin McKenzie seemed to imply that the dancers were relieved not to be romping through the Spring blockbusters, and that he was glad he could feature some of the
"The Music of Elliott Carter Interpreted"
Works & Process
Peter B. Lewis Theater
Solomon R. Guggenheim Museum
New York, NY
October 2, 2011
by Mary Cargill
copyright © 2011 by Mary Cargill
The Guggenheim's intriguing Works & Process series featured Elliott Carter, very much alive at almost 103, and two young choreographers, Emery LeCrone and Avichai Scher. They were given the same short five pieces of Carter's to choreograph, and the evening featured the two works, interspersed with
"Rooms"
Limón Dance Company
Borden Auditorium
Manhattan School of Music
New York, NY
September 26, 2011
Fusionworks, "a collaborative/interactive roster of artists", sponsored a performance by the Limón Dance Company to live music of Anna Sokolow's harrowing 1955 work "Rooms". This was recently revived by the Limón company in honor of Sokolow's centenary, but it is hard to understand needing a hook to perform it, and the combination of the vivid, committed performances with the Manhattan
"Ocean's Kingdom"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
September 22, 2011
Paul McCartney, that is, who in a blaze of publicity, dominated the New York City Ballet's fall gala as the composer and librettist of the new ballet. Had his name been Paul McGillicuddy, the company probably would not have spent $800,000 to produce his ballet, and he wouldn't have been greeted with the echoes of nearly
"The Little Humpbacked Horse"
Mariinsky Ballet
Lincoln Center Festival 2011
Metropolitan Opera House
New York, NY
July 12, 2011
"The Little Humpbacked Horse", choreographed by Arthur Saint-Léon to a score by Cesare Pugni in 1864 for the Mariinsky, was the first ballet based on a Russian theme. Over the years, many hands have reworked it, and the current version has only the story to connect it with the original. Pugni, et al.
"Swan Lake"
American Ballet Theatre
Metropolitan Opera House
New York, NY
July 2, 2011
Life certainly isn't fair to poor Odette, a beautiful woman trapped in a swan's body, in love with a man who seems easily confused, and who manages to condemn her to death. But the most unfair part of her fate seems to be that she is constantly trapped in peculiar versions of "Swan Lake", which, in spite of the glorious White Swan
"Coppélia"
American Ballet Theater
Metropolitan Opera House
New York, New York
June 16, 2011
ABT's current version of the 1870 French comedy is based on the version Frederic Franklin danced in the 1930's, which was set by Nicholas Sergeyev from his notation of the Russian version of Marius Petipa; a distinguished lineage, indeed. There are similarities between this and the New York City Ballet's version (set by Alexandra Danilova, Franklin's frequent partner, who also danced
"The Sleeping Beauty"
American Ballet Theatre
Metropolitan Opera House
New York, NY
July 9, 2011, Matinee
"The Sleeping Beauty", the grandest of ballets, is the final program of ABT's summer season. The much-maligned production has improved markedly since its 2007 premier, but it is still profoundly flawed. The sets and most of the costumes tend to minimize the production; the sets by their general tackiness and boxiness, which limits on the dancing space, and the
"The Bright Stream"
American Ballet Theater
Metropolitan Opera House
New York, New York
June 9, 2011
It is clear that the Cold War is well and truly over--the hammer and sickle is decorating the Metropolitan Opera House's front curtain, introducing a comedy about life on one of Stalin's collective farms. Of course, life was not a comedy during that period, and, except for remote areas of academia and old issues of the New
"There is a Time", "Chrysalis", "The Emperor Jones"
Limón Dance Company
Gerald Lynch Theatre
John Jay College
New York, NY
June 7, 2011
The Limón Dance Company faces the same issues of all companies trying to continue without their founding choreographer. Some, like Cunningham, have decided that memory is the best preservative, but the Limón Company has heroically tried to maintain the founder's works while judiciously adding modern ones. This program is a good example--one familiar
"Jewels"
New York City Ballet
David H. Koch Theater
New York, N.Y.
June3, 2011
"Jewels", Balanchine's three-act salute to dance style, and perennial audience favorite, has returned to the spring. It does still sport the 2004 rethinking by the original designer Paul Harvey, which are oppressive and gaudy. The mysterious "Emeralds" evokes a messy green swamp rather then French elegance, but the Raymondaesque costumes by Karinska still work their magic. There was other magic,
Spring Performance
Gelsey Kirkland Academy of Classical Ballet
Miller Theatre at Columbia University
New York, NY
June 2, 2011
Gelsey Kirkland, so famous for her magical performances, has set up a ballet academy in New York, stressing, as she wrote in the program of the first season's spring performance, both Vaganova and Bournonville styles (including mime and character dancing) and especially the theatrical aspect of dance. She presented a wide-ranging program which included visits to Spain and