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A Trio to See Again

A Trio to See Again


"Lacunae" "Shutter" "Unlocking/Elpis"
Amy Seiwert's Imagery
ODC Theater
San Francisco, CA
June 28, 2018


Amy Seiwert, until recently Choreo- grapher in Residence with Smuin Contemporary Ballet and founder of her own Imagery company, started a summer program she called Sketches eight years ago. She has explained the project as a way to allow her the kind the risk taking for which commissions are not always the best vehicle. More than anything, she feared falling into established, even successful,

By Rita Felciano
Olé and All That Jazz

American Ballet Theatre

Olé and All That Jazz

"Don Quixote"
American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
June 30, 2018, matinee

by Mary Cargill
copyright © 2018 by Mary Cargill

"Don Quixote", with choreography attributed somewhat loosely to Petipa, is a sunny take on a piece of Cervantes' sprawling story, an explosion of energy in make-believe Spain.  But at its heart, it can be a gentle and genuine love story as the heart wins out over the pocketbook, and an effective

By Mary Cargill
Romance, Hard Times and Comic Relief

National Ballet of Canada

Romance, Hard Times and Comic Relief


"Paz de la Jolla", "The Man in Black", "Cacti"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 13, 2018


The NBoC closed their 2017-2018 season with a triple bill of 21st century works featuring the company premiere of Justin Peck's sunny 2013 creation, "Paz de la Jolla". This is the first ballet by the NYCB wunderkind to enter the NBoC's repertoire. Joined by James Kudelka's country-infused "The Man

By Denise Sum
Royal Danes at Jacob's Pillow

Royal Danes at Jacob's Pillow


Royal Danish Ballet
Jacob’s Pillow Dance Festival
Beckett, MA
June 20, 2018
by Gay Morris


The Royal Danish Ballet, founded in 1748, calls itself the third oldest ballet company, but its August Bournonville repertory gives it something like eternal youth. Bournonville’s village girls and boys breathe a freshness that exists nowhere else. Fortunately for audiences, a good deal of Bournonville choreography was included in the program a group of dancers from the Danish company offered for the opening

By Gay Morris
Vintage 1894

The Bolshoi Ballet

Vintage 1894


"Coppélia in HD"
Bolshoi Ballet
Empire 25 Theater
New York, NY
June 10, 2018


There was no more joyous place to be in New York on a gray damp Sunday than inside a standard issue (vertical) multiplex in wildly overcrowded Midtown. The reason? Sergei Vikharev's staging, for the Bolshoi in 2009, of "Coppélia" based on that of Marius Petipa and Enrico Cecchetti for the Imperial Russian Ballet in 1894. The production is – even on film – proof of the magic

By Carol Pardo
Dancing on Federal Land

Dancing on Federal Land


"Ritmo" "Ambiguous Dance" "Laughing Frame" "We are all Dragons in Drag" “Tableaux 2017” “Divine Conversations”
San Francisco International Arts Festival
Fort Mason Center
San Francisco, CA
May 31-June 3, 2018


This year’s San Francisco International Arts Festival offered a line-up similar to the one it has since 2013. That means Circus, Comedy, Music, Performance, Theater and Video, the vast majority from the Bay Area. Given the “international” in the name, the Festival disappoints almost every year. For

By Rita Felciano
Movements That Are Drawn

National Ballet of Canada

Movements That Are Drawn


"Frame by Frame"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 1, 2018 


When the National Ballet of Canada announced a full length commission from Guillaume Côté, some may have had their doubts. Côté is a brilliant performer, but his work as a choreographer has been uneven. His 2016 adaptation of "Le Petit Prince" did not instill much confidence in his ability to craft a coherent narrative work. Furthermore, this

By Denise Sum
Small Is Beautiful

Small Is Beautiful


"Snap" "Homing" "The Old Child" "Jardi Tancat"
SF Danceworks
Cowell Theater
San Francisco, CA
June 8, 2018


Good choreography, well performed. What else could you want? If this formula includes new and contemporary choreography by a group of independent dancers whose sense of ensemble is excellent, you get an intelligent, challenging evening of dance that makes you look forward to what else is coming down the line. Such again was the impact of the now three-year old SF Danceworks

By Rita Felciano
Moods and Shapes

Moods and Shapes


"What Counts", "This, and My Heart Beside...", "Trio Sonatas", "Undercurrent"
Lydia Johnson Dance
The Ailey Citigroup Theater
New York, New York
June 7, 2018

Lydia Johnson's chamber ballet troupe presented one premiere ("Under- current") and three recent works in its New York season.  She has a great respect for music, shown by the detailed credits; unlike many programs, hers included both the composer and the title of the work, as well as the specific recording which was used,

By Mary Cargill
A Glimpse of the Future

A Glimpse of the Future


"La Source", "In Creases", "Circus Polka", "Western Symphony"
School of American Ballet
Peter Jay Sharp Theater
New York, NY
June 1, 2018 matinee


The afternoon began with a disconcerting jolt. The curtain rose on "La Source" revealing not the lead couple, but two members of the corps standing sentinel at the back corners of the stage. In deference to its student performers, "La Source" had been reconceived and recombined. Instead of two pas de deux interlarded with soloist and ensemble

By Carol Pardo
A New, Young Cast Delights in "Harlequinade"

American Ballet Theatre

A New, Young Cast Delights in "Harlequinade"


“Harlequinade”
American Ballet Theatre
Metropolitan Opera House
New York
June 6, 2018


American Ballet Theatre is offering four casts in eight performances of Alexei Ratmansky’s reconstruction of Marius Petipa’s “Harlequinade” this week at the Metropolitan Opera House. The cast I saw was particularly interesting because nearly all the major roles were taken by dancers from the company’s lower ranks. This gave them a chance to prove themselves, and they more than met the challenge. Harlequin was portrayed

By Gay Morris
Is Bournonville Still Alive?

interview

Is Bournonville Still Alive?


danceviewtimes in conversation with Alexander Meinertz


“I’m a huge admirer of Bournonville’s work. In fact, I would argue that Bournonville was not just a great choreographer in the sense that he really knew how to move dancers to music in really delightful and exciting ways. In his day he was called a “ballet poet”, and I think that’s accurate: his storylines and stagings are second to none and stand out to this day for their complexity and

By Alexander Meinertz