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New York City Ballet

A Very Mixed Bill

“Allegro Brillante,” “Easy,” “Carousel (A Dance),” “La Sylphide”
New York City Ballet
David H. Koch Theater
New York, New York
September 29, 2018

To say that Saturday evening’s New York City Ballet program was varied would be an under- statement. It ranged from “La Sylphide,” a nineteenth century romantic tragedy, to Justin Peck’s “Easy,” a rambunctious contemporary dance party. As it turned out, the new tended to overshadow the old.

“Easy,” which was premiered last spring as part

The Weight We Carry

"death"
Fact/SF
CounterPulse Theater
San Francisco, CA
Sept, 27, 2018

Sometimes a show leaves you slightly dissatisfied because it didn’t quite hit its target. Yet with choreographer/Artistic Director Charles Slender-White’s “death” chronological and imaginative time, the examination of the audience/performers’ relationship, the ingenious use of Counter Pulse’s physical space, and the slippery topic of this inquiry, you couldn’t help admire the endeavor's complexity. FACT/SF’s three male (Slender-White, Keanu

New York City Ballet

Fashionistas

"The Exchange", "Judah", "The Runaway"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, NY
September 27, 2018

New York City Ballet's 2018 fall gala followed a familiar pattern: three new ballets with costumes by three fashion designers preceded by a brief film focusing on some of the issues these designers had working with ballet dancers for the first time. There was one difference; the evening opened with the entire company on the stage listening

New York City Ballet

Friday Night Lights

“Concerto Barocco,” “Tschaikovsky Pas de Deux,” “Stravinsky Violin Concerto,” “Symphony in C”
New York City Ballet
David H. Koch Theater
New York, New York
September 21, 2018

The first Friday night of the Fall season at New York City Ballet felt like a breath of fresh air. Not that everything was perfect – far from it, the principal dancing in particular alternated tours de force in some ballets with slack efforts or curious interpretations in others. But taken as a whole

New York City Ballet

Debuts in "Jewels"

“Jewels”
New York City Ballet
David Koch Theater
New York, New York
September 23, 2018

New York City Ballet presented performances of George Balanchine’s “Jewels” over the past week, with a young cast taking major roles in the “Emeralds” section on Sunday. Each of the three ballets that makes up “Jewels” shows a different aspect of Balanchine’s major stylistic interests. “Diamonds” looks to his Russian heritage, “Rubies” to his American experience, and “Emeralds” to a neo-romantic mode

New York City Ballet

Polished Jewels

"Jewels"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
September 19, 2018

The second night of New York City Ballet's fall season featured several debuts in the ever-popular "Jewels", as well as luminous performances by the established gems, Tiler Peck, Sterling Hyltin, and Sara Mearns. Though not credited, Mimi Paul, Patricia McBride, and Edward Villella provided some extra coaching, and presumably they deserve some of the credit for the delicate

Beauty in the Simple Unexpected

“Make Believe”
Rosie Herrera Dance Theatre
Dance Place
Washington, DC
September 15, 2018

As a choreographer, Rosie Herrera never fails to surprise. Her past creations range from melting a chocolate bunny with a blowdryer to throwing a girl into a birthday cake. In her company’s most recent performance at Dance Place, an inflatable bounce house takes over as an unexpected but welcomed element, representing the innocent ease that characterizes a child’s ability to believe. This past Saturday, the

A Mixed Bill in Every Way

"Stabat Mater" "Mad Brass"
Garrett + Moulton Productions
Yerba Buena Center for the Arts
San Francisco, CA
September 6, 2018

Using less experienced dancers as a backdrop to soloists can boast of a long tradition in Ballet. But when Janice Garrett and Charles Moulton, each after long independent careers in contemporary dance, decided to bring a "movement choir" of not-yet professional dancers to their co-choreographies, they stepped into unknown territory. Former tapper, theater director and Merce Cunningham dancer Moulton

A Tribute to Jerome Robbins at Jacob's Pillow

Stars of American Ballet
Ted Shawn Theater
Jacob’s Pillow Dance Festival
Becket, MA
August 26, 2018

New York City Ballet has spent much of 2018 celebrating the centenary of Jerome Robbins, who was long associated with the company as a choreographer and ballet master. It is not surprising, then, that Daniel Ulbricht, a principal NCYB dancer, would want to continue the celebratory mood when he took his concert group, Stars of American Ballet, on the road this summer. The

Summertime

"Head in the Sand" "Something About A Nightingale" "Giant"
ODC Dance
B Way Theater
San Francisco, CA
July 20, 2018

No question ODC Dance has survived for 47 years with the same three women’s leadership because of their artistic talents and clear vision of the way they see themselves within the ecosystem of local and national dance. One of the smartest events they started over a decade ago is Summer Sampler, two weekends with two different hour-long programs

Bundles from Britain

"There Where She Loved", "Monotones I & II", "La Chatte", "Les Patineurs" (pas de trois), "Méditation from Thaïs", "The Two Pigeons" (final pas de deux)
Sarasota Ballet
Joyce Theater
New York, New York
August 18, 2018 matinee

Sarasota Ballet's Saturday program honored Sir Frederick Ashton on the thirtieth anniversary of his death with an all-British program, beginning with Christopher Wheeldon's "There Where She Loved", and continuing with Ashton's astounding "Monotones I & II", followed by four

Choices, Choices

"Monotones I & II", "Symphony of Sorrows", "There Where She Loved"
Sarasota Ballet
Joyce Theater
New York, New York
August 14, 2018

The Sarasota Ballet, a small company run by the British dancer Iain Webb, has a rich and varied repertoire and is especially known for its commitment to the works of Sir Frederick Ashton, which they dance with admirable style and elegance. But a company cannot exist solely on a historical legacy, and Webb has the same issues

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