Fusion

Fusion
Sa Dance Company

"Ivillage: My Indian Village", "Inseparation", "Flight", "Bollysa"
Sa Dance Company
Ailey Citigroup Theater
New York, New York
June 28, 2014


The word "Sa" means, according to the program notes, the first and last note in the octave used in Indian classical music.  The Sa Dance Company, a group of 10 stunningly beautiful women, melds blends the various schools of Indian classical dance with more modern versions; the brief biographies in the program shows the range of types these dancers have studied, from Kathak, Odissi, and Bharatanatyam to ballet, tap, jazz, and hip-hop. The founder and choreographer, Payal Kadakia writes that she uses her works to explore Indian American identity; these are not traditional Indian dances.

This mixture of the energy and coordination of hip hop with the warmth and filigreed upper body of Indian dance is a winning combination, and the colorful, cheerful group dances with their stomping bare feet and lip-syncing were enormously entertaining.  The first dance, set in an imagined Indian village was "tinged with nostalgia for a life we never actually had", according to Kadakia.  The (recorded) music by several Indian pop musicians was pulsating and dynamic and the lilting, swaying dancing included stylized groups miming cooking, sewing, planting, cleaning, and, not least, gossiping in beautiful, colorful costumes.

This communal feeling continued through the program, and the group dances had the folk-like feel of being danced for a group of friends and many in the audience clapped along with the more percussive movements.  The middle two dances were a bit darker and more subdued; "Inseparation" was danced in dark purple and "Flight" in black leotards.  The final piece, "Bollysa", was an explosion of red with gold accents, inspired, according to the notes, by Bollywood, and the whirling, stomping circle dances were constantly shifting pictures.  There was a brief nod to romance, as a group of four mimed, so beautifully, tears and lost loves and then merged back into the joyful group. The program was simply intoxicating.

copyright © 2014 by Mary Cargill

Read more

Pomp and Circumstance

Pomp and Circumstance


“Procession”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 1, 2025


How satisfying it is when something lives up to the hype. Choreographic duo Bobbi Jene Smith and Or Schraiber have generated a lot of buzz in recent years, creating works for preeminent dance companies across North America and Europe while also crossing over into work in film and theatre. There was a lot of anticipation leading up to the world premiere of

By Denise Sum
Uneven Showcase

Uneven Showcase


“The Kingdom of the Shades,” “Grand Pas Classique,” “Known by Heart (“Junk” Duet), “The Sleeping Beauty, Act III”
American Ballet Theatre
David H. Koch Theater
New York, NY
October 26, 2025


It was a showcase of individual talent at ABT’s mixed bill titled “Classics to the Contemporary,” with plenty of solos to dance in Natalia Makarova’s “Kingdom of Shades,” Victor Gsovsky’s “Grand Pas Classique,” Twyla Tharp’s “Known by Heart” duet and the entire third act of

By Marianne Adams
Tricks and Treats

Tricks and Treats


"Rodeo", "Le Grande Pas de Deux", "Rhapsody Pas de Deux", "Theme and Variations"
American Ballet Theatre
David H. Koch Theater
New York, NY
October 31, 2025


ABT celebrated Halloween in grand style, handing out candy to the departing audience, holding a costume contest (I set next to the winning couple, a Venus fly-trap and a trumpet pitcher plant), and a program of tricks and treats (the trick was Christian Spuck’s comedy “Le Grand Pas de Deux” and the treats

By Mary Cargill
History in the Present Moment

History in the Present Moment


“Les Sylphides,” “Gala Performance,” “Rodeo”
American Ballet Theatre
David H. Koch Theater
New York, NY
October 17, 2025


Celebrating its 85th anniversary, American Ballet Theatre presented a program titled “A Retrospective of Master Choreographers,” featuring works from deep in the 20th century. The evening showcased Michel Fokine’s “Les Sylphides,” Antony Tudor’s “Gala Performance,” and Agnes de Mille’s “Rodeo” – all treated with distinctly modern reverence and an almost overcautious care to preserve their original character.

That

By Marianne Adams