View from the Desert

View from the Desert

"Rhythm of Rajasthan"
Peter Norton Symphony Space
New York, NY
January 14, 2011


The World Music Institute, an organization devoted to presenting traditional music and dance from around the world, sponsored a visit by folk singers (and one dancer) from the area of Rajasthan.  The very interesting program notes explained that western Rajasthan is probably where the gypsies originated, and it was very interesting to note the connections.  There was a gracious, informal feel to the evening, as the four musicians sat on a dias, and seemed to sing and play spontaneously.  The songs had a plaintive, keening edge, even when the infectious music was at its most rhythmic--many in the audience didn't resist the urge to clap along, reinforcing the campfire feel.

There were two dances, both performed by Suva Devi, an absolutely enchanting performer.  The first, the Bhavai dance, has the dancer doing various tricks (balancing on the blunt end of a sword, hopping on a pair of upturned glasses, and skipping around in a pie plate--not all at once) while carrying a pile of pots on her head (I counted seven); all these competitive tricks were danced through without looking gymnastic.  Petipa must have been familiar with this dance when he choreographed "La Bayadere", for there are clear echoes of this in the charming Danse Manu, where a dancer, accompanied by two young girls, balances a pot on her head--obviously Petipa made some concessions to Western abilities!

The second dance was the Kalbeliya Dance, a spinning dance which, according to the notes, was used to charm snakes.  It certainly charmed me, with the colorful costume, and the swaying, sensuous movements, combined with some unique feats--at one point the dancer did a back bend and picked up two rings with her eyes, something I don't expect to see soon.   Unless New York is lucky enough to host this gorgeous dancer again.

copyright © 2011 by Mary Cargill

Read more

Love Stories

Love Stories


"Trois Élegiaque", "Flight", "The Dream"
American Ballet Theatre
David H. Koch Theater
New York, NY
October 28th and 30th, 2026


ABT’s program celebrated three different types of love stories, beginning with the premiere of the young corps dancer Brady Farrar’s “Trio Élégiaque”, with three couples weaving through Rachmaninoff’s music.  “Flight”, choreographed in 2012 by the South Korean choreographer Jae Man Joo, honored the love the audience had for Herman Cornejo, via Bach cello music, and 

By Mary Cargill
Ballet's Beautiful Ghosts

Ballet's Beautiful Ghosts


“Mephisto Waltz,” “Soon,” “Quiet City,” Ghost Light”
London City Ballet
The Joyce Theater
New York, NY
October 27, 2026


London City Ballet returned to the Joyce Theater two years after its first New York tour as a reconstituted company, and on opening night it made its case in a program of beautifully haunting works. The troupe once called Sadler’s Wells home and counted Princess Diana among its supporters, then vanished in 1996. Christopher Marney revived it in 2024 with

By Marianne Adams
Modernity Wins

Modernity Wins


“Petal,” “Petite Mort,” “Paquita”
American Ballet Theatre
David H. Koch Theater
New York, NY
October 25, 2026


In programming Helen Pickett’s stripped-down, richly hued “Petal” and Jiří Kylián’s curious “Petite Mort” with Natalia Makarova’s tired staging of “Paquita,” ABT, perhaps inadvertently, made the best case yet for a slick (and sensual) modern direction. The dancing was most multilayered and revealing of the dancers in those works, and while the company danced the lone classical offering well

By Marianne Adams
Movie Time

Movie Time


"Femme Fatale"
Tom Gold Dance
The Goldman-Sonnenfeldt Family Auditorium
Marlene Meyerson JCC
New York, NY
October 29, 2026


Tom Gold, a former New York City Ballet soloist, has been choreographing for his small pick-up company since 2008, an impressively resilient number.  His insistence on live music is equally impressive, and his choice of chamber works had led to some fine and interesting discoveries.  For “Femme Fatale”, he chose small violin and piano works by the famous

By Mary Cargill