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The Scottish Musical

The Scottish Musical


"Brigadoon"
New York City Center
New York, New York
November 16, 2017
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New York City Center's Encore Series has traditionally given revivals of musicals in stripped-down, partially staged, script-clutching performances, offering current stars a chance to perform those glorious songs without having to commit blocks of time to rehearsals. The series' gala production of Lerner and Loewe's "Brigadoon", directed and choreographed by Christopher Wheeldon, did have glorious songs, but it was fully (if economically) staged and

By Mary Cargill
Is Paris to Blame?

Is Paris to Blame?


"Work"
Kim Yong-geo Dance Theater from Korea
Terrace Theater
The John F. Kennedy Center for the Performing Arts
Washington, DC
November 9, 2017

"Work" could use a sense of play, of gracious relaxation, of elegance. This hour plus display, choreographed by Yong-geol Kim, is crammed full with different dance numbers and has, sometimes, a military air – especially when its corps de ballet struts onto the stage in marching file. For the opening, though, there were no bodies, no

By George Jackson
Dresden in New York

Dresden in New York


"5", Ganz leise kommt die Nacht / The Night Falls Quietly", "On the Nature of Daylight", "Vertigo Maze"
Dresden Semperoper Ballett
The Joyce Theater
New York, NY
November 1, 2017


The Dresden Semperoper Ballet, founded in 1823, boasts a roster of sixty dancers, and a repertory which, during the 2017-2018 season, encompasses everything from Petipa's "Sleeping Beauty" to Justin Peck's "Heatscape". Its inaugural season at The Joyce included eleven dancers from all ranks of the company (among them

By Carol Pardo
Seesawing

Seesawing


"Balance and Imbalance"
Bereishit Dance Company of Seoul, Korea
Millennium Stage South
The John F. Kennedy Center for the Performing Arts
Washington, DC
November 7, 2017


Words that indicate opposites - "traditional" and "contem- porary" – appear in the printed program for choreographer Soon-ho Park's piece for a pair of drummers, a vocalist and five dancers. Indeed, what the eyes see on stage, and on the huge overhead video screen, is quite diverse in terms of dress, age and action,

By George Jackson
It's His Company Now

American Ballet Theatre

It's His Company Now


“Songs of Bukovina,” “Symphonic Variations,” “Other Dances,” “Serenade after Plato’s Symposium”
American Ballet Theatre
David H. Koch Theater
New York, New York
October 21, 2017 afternoon


The two ballets by Alexei Ratmansky on the program, including his newest work, were vibrant and full of life. Meanwhile iconic works by Ashton and Robbins were more or less dead on arrival. On Saturday afternoon at ABT, if you needed proof positive that it’s Ratmansky’s company now, the dancers his,

By Michael Popkin
Different Notes

American Ballet Theatre

Different Notes


"Her Notes", "Symphonic Variations", "Other Dances", "Thirteen Diversions"
American Ballet Theatre
David H. Koch Theater
New York, New York
October 22, 2017, matinee


ABT's Sunday matinee showcased four ballets choreographed to concert music, music which was originally intended to stand alone. The choreographers all faced the challenge of improving, so to speak, the original works of art, and though all works were very well danced and had impressive moments, only Ashton's "Symphonic Variations" melded the steps, the atmosphere,

By Mary Cargill
Corps' Night Off

American Ballet Theatre

Corps' Night Off


"Her Notes", "Symphonic Variations", "Other Dances", "Serenade After Plato's Symposium"
American Ballet Theatre
David H. Koch Theater
New York, New York
October 19, 2017


American Ballet Theatre has long had a dual identity in New York. In the spring at the Metropolitan Opera, the company presents itself as the guardian of 19th century imperial Russian tradition. Spectacle, scale, hierarchy rule. The fall season, at the home theater of the New York City Ballet, is more egalitarian. Mixed bills provide

By Carol Pardo
Pioneer, Apprentice, Perfectionist

Pioneer, Apprentice, Perfectionist


DEMO: Jerome Robbins – American Dance Genius
Terrace Theater 
The John F. Kennedy Center for the Performing Arts
Washington, DC
October 20, 2017
 


The centennial of Jerome Robbins’ birth in 2018 will spur big celebrations. This first one, part of Damian Woetzel’s Demo series, was small in scale and simple in format. Oddly, it suited the ballet choreographer and director of musicals, movies and television productions who had started as an American character dancer and became a complex

By George Jackson
Silver Lining

American Ballet Theatre

Silver Lining


Silver Lining

"The Gift", "Songs of Bukovina", "Thirteen Diversions"
American Ballet Theatre
David H. Koch Theatre
New York, New York
October 18, 2017


ABT's Fall gala celebrated Kevin McKenzie's twenty-five years as Artistic Director with a silver jubilee.  Appropriately, it was a company effort, celebrating the JKO students and the ABT Studio Company as well as the current dancers; as the gracious hosts, Stella Abrera and David Hallberg noted in their opening remarks, 63 of ABT'

By Mary Cargill
Milking a Classic

Mariinsky Ballet

Milking a Classic


“La Bayadere”
The Mariinsky Ballet
Opera House
The John F. Kennedy Center for the Performing Arts
Washington, DC
October 17, 2017


The plot for this exotic and bravura ballet keeps being altered. Right now at the Kennedy Center the story stops short with the hero immersed in a dream of his dead beloved among a bevy of similar bayaderes beckoning him to join her. Bayaderes were dancing girls who served in Hindu temples. The hero, an outstanding Hindu warrior, has

By George Jackson
Moving On

New York City Ballet

Moving On


"Cortège Hongrois", "La Valse", "Square Dance", "Duo Concertant"
New York City Ballet
David H. Koch Theater
New York, New York
October 15, 2015


Robert Fairchild gave his farewell performance at New York City Ballet in Balanchine's low-key, pensive, and very personal "Duo Concertant", which was rescheduled to close the afternoon, in place of the apotheosis of closers, "Cortège Hongrois", which opened the performance. If the switch made for a somewhat unbalanced schedule, it let the audience thank Fairchild

By Mary Cargill