I’ve now been nominated in both the “best design” and “best blog written by a PD that has nothing to do with the job” categories. It’s so sweet of them to recognize me — so flattering! Go here to vote! And happy New Year everyone!

“One of the promises of my company is that its repertoire will include pieces that ordinary people can understand. I still dream that my folks down on the farm in Texas can come to an Ailey concert and know and appreciate what’s happening onstage. That’s my perception of what dance should be — a popular form, wrenched from the hands of the elite.” From REVELATIONS, The Autobiography of Alvin Ailey, pg. 101.

That must be why I love this company so. Everything they do is sublime, humanistic, evocative, easily relatable, and immensely meaningful; it speaks to your soul, and it speaks to everyone. It’s the antithesis of elitist. I was so upset their New York season is over (well, not competely; they still have a big shindig tomorrow night in celebration of New Year’s Eve), that I spent all weekend reading Ailey’s Autobiography, which I picked up at a rare bookstore I’m fond of in Durham, while visiting Mom. I highly recommend it.

Anyway, highlights for me of the past several weeks were:

1) “Revelations” (top picture, by Paul Kolnick, from AAADT website). But, I mean, duh, that it’s a season highlight. You’d be inhuman if you didn’t respond to this one I wrote about it previously, here.

Oh, another thing I discovered whilst confined to my apartment by my recent (ridiculously debilitating) sinus infection + migraine episode / end-of-AA-season depression: the Alvin Ailey organization has a bunch of videos posted on YouTube!!! The quality’s not tremendously high (hopefully they’ll improve on that soon ), but for those unfortunate souls who have never experienced this brilliant company, I can link to just about everything so you can get a taste!

2) This season I fell in love with “Love Stories,” a dance in three parts and three styles, all of them set to Stevie Wonder music. I love how the three parts are so fundamentally different from each other while somehow still managing to sequeway well into one another: the first one is beautiful modern / balletic (above top pic, danced by Clifton Brown), composed of a solo followed by a group of duets that include some very acrobatic partnering; the second part is raucous mad fun hip hop that makes you want to get up and dance yourself; and the third is what I’d call African / modern blend. That third part has honestly never done much for me until this season when it somehow become my favorite. For one thing, in one of my viewings this season, Kirven Boyd, a favorite whom I blogged about before, danced the beginning of that section, and watching him made me all the more intrigued. Weird how that happens: you have a favorite dancer and you end up liking anything they’re in — they make something totally beguiling when you’d never really even noticed it before.

So, the crazy fast hip hop number of the previous section ends, a voice calls out, “I want to hold a mirror up to society so that everyone can see how beautiful they are.” And, at that point a man emerges from the right wing wearing this earthy-toned, roomy outfit resembling to me a kind of religious, Hare Krishna-ish garb. He’s bent over and he takes a few slow hesitant steps forward, then several runs back. He gains the courage to inch forward again, then more steps back. The movement is African. Eventually, an ensemble of dancers emerges and they all dance together, making various formations, resembling possibly a kind of chain gang, or perhaps a multitude overtaken by a kind of religious spirit. At one humorous point, they bounce around in a circle, stick their arms out awkwardly at their sides, and look up to the ceiling making huge ‘Stevie Wonder’ smiles. When I saw the piece at one point with Apollinaire, she said she thought the first man out looked like a prisoner. I guess he could have been, although, I hadn’t thought of it that way. Maybe he’s a man who’s imprisoned by blindness or some other kind of handicap … racial prejudice even… At the end, the group happily bounces together going toward the back of the stage, when the back curtain lifts to reveal a multitude of bright lights. It’s really a sight. I’m really not sure what to make of it, but I’m intrigued. Robert Battle choreographed this section, and I was so taken with a small enchanting piece of his the company premiered, “Unfold,” which I wrote about here. This season was my first experience with this choreographer and I’m very interested to see more.

3) Several of the male dancers, including Clifton Brown (really the star of the company, to the extent this company has such things), Kirven, and Antonio Douthit (pictured above as the Firebird in a photo by Eduardo Patino). Like ABT, this is a company strong in men. Antonio is a tall, slim man with long, sinewy ballet muscles and he makes these gorgeous leg extensions. At one point in “Flowers,” Ailey’s fun but ultimately heart-rending ballet in tribute to Janis Joplin, there are several men dressed as her ‘boy toys’ in these hilarious shiny booty shorts (just what went on in the 70s?!) carrying her all over the stage in worship. At one point, they’re all simultaneously doing these rotating arabesques (turning on one foot with one leg lifted up to the back), and I suddenly noticed Antonio’s foot was practically to the ceiling! It was stunning! He makes beautiful shapes, and he’s very expressive with both his face and body. If anything, he probably needs to work a little more on his jumps, as well as on that intangible something that makes one a real artist. I say this only because he took over the role Clifton had in “The Road of the Phoebe Snow” — that of the young, innocent dreamy boy who falls in love with the girl who is killed, and he just didn’t make me want to cry for him the way Clifton did. Plus, I remember these crazy scissor split leaps that just completely blew me away when Clifton did them. They were impressive when Antonio did as well, but not quite as much — which isn’t bad and it’s probably completely unfair to compare anyone to Clifton The Miraculous (by the way, I wrote more about Clifton here). Basically, I think Antonio is a Clifton in the making but he’s not there yet; he just needs to work on it a bit more — he’s young, so he has time! Here’s an excerpt from “Flowers.”

I also liked Glenn Allen Sims, a favorite of mine from other seasons as well. He was just beautiful in this small little five minute jazz ballet of Ailey’s that the company just revived, “Reflections in D.” And the night I saw him dance that piece, he followed it by dancing the similarly sweet balletic solo in the opening of “Love Stories.” I was in love In contrast, he also perfectly performed the bad-ass scary band manager / boyfriend in “Flowers,” tormenting poor Janis and signaling her downfall, as well as the hardened lover in “Phoebe Snow.”

Of the women, I LOVED Linda Celeste Sims (above in “Flowers”). She absolutely shined in everything she did. She brought me completely into her world: I wanted to cry for her raped, beaten innocent girl in “Phoebe Snow,” I felt angry at the men who mistreated her in Ulysses Dove’s darkly sexual “Episodes” (pictured below), and her beautiful ethereal creature with that impossible-looking back arch in Battle’s “Unfold” took my breath away. She is like my Veronika Part!

I also liked Briana Reed, for giving everything she did such sass and conviction and major attitude!

Alicia Graf is another one with a very beautiful balletic body.

(Here with Jamar Roberts, in Andrew Eccles photo)

I know a lot of people love her for that reason — with her balletic form and training, they think she brings something new and special to Ailey. I agree, but only somewhat. I didn’t love her in everything I saw her in, and while I certainly don’t think she’s superior to anyone else because of that background, I do think she really excels in the more balletic parts. I thought she was beautiful in the “Fix Me Jesus” section of “Revelations” (pictured here, but with Linda dancing the female part). She has gorgeous pointed toes, reminiscient to me of (again) Veronika Part. I also loved her in the balletic parts of “The River,” which was originally a ballet on pointe created for ABT. I’m not sure why the company doesn’t put that on pointe; it’s not like Alicia (or the other women — “Flowers” is partly on pointe) couldn’t do it. It seems like it would be so much more magical… Anyway, it was other roles where I felt like she didn’t bring as much as some of the other dancers. For example, she danced the jilted lover in “Phoebe Snow” very differently from Briana; Alicia’s character seemed more fragile, more innocent and more hurt by her jerky boyfriend, making her, in my opinion, too similar to the other female character in that ballet, the fragile innocent who ends up killing herself. And, I was underwhelmed by her jazz divas in “Night Creature” and “Pas De Duke” (the latter created by Ailey for the legendary Judith Jamison)

But really, one thing I love about this company, and why it’s rather ’star-less’ I think, is that I think every one of the dancers brings something unique. I only talked about some, but I really like them all. I’m only leaving out the others because I’m dead tired and I need to go to sleep! I’m one of those unfortunate souls who has to work tomorrow….

Oh but quickly, I also really liked Camille A. Brown’s Groove to Nobody’s Business. I thought it was cute and completely relatable and fun and I hope that she does more for the company in the future, but really takes it up a notch in terms of depth. I saw a smaller piece by her earlier this year at the Fall For Dance Festival called “The Evolution of a Secured Feminine.” It was a smart, witty solo, by turns funny, by turns more reflective, which she performed herself. I hope in the future she will create more, fuller-length work like that for a larger group, on a larger scale.

Anyway, happy New Year’s everyone! And please look at some of Ailey’s YouTube videos, especially if you’ve never seen this company before. And please do go see them live if they come to your neck of the woods! They combine everything — modern ballet, African, jazz, hip hop, Latin — everything! They are the future I do believe. I can practically promise that you won’t be disappointed

A couple of weeks ago I went to Dance Times Square’s in-house competition, an event the studio holds every once in a while to give their students who are thinking of entering an actual pro-am competition with their teachers a little taste of just what that would be like.

It’s judged by actual judges who arbitrate at the local and national competitions. Above are John Nyemchek and Edward Simon, a former American Smooth champion who now runs the New York Dance Festival and Empire State Dance Sport Championships.

Melanie LaPatin (studio co-owner) emceed.

(Sorry pics are blurry; I didn’t want to scare anyone with my flash!) I haven’t danced in so long, and it was exciting (albeit somewhat sobering) to see some of my old friends dancing so well at a much higher level than they were. Here’s long-time student Elaine (one of Pasha’s former students) dancing with her new teacher, Jacob Jason. She used to be at my level; now she’s far surpassed me! I MUST go back to dancing!

Anyway, here’s my full write-up of the event.

Here are the photograph sets from the professional photographer who sat a few seats down from me at “Rhythm of Love.” (just hit ‘continue’ and you’ll be taken to the album). To be honest, I’m kind of disappointed with the quality of his photos — think I could’ve taken better ones myself. He won’t let me so much as copylink and post on my blog because he’s not a publicity photographer working for the event’s presenting organization, but only takes pictures so that he can sell them for his own profit, like many do at ballroom competition events. Catch up with the world of concert dance, ballroom people, and hire pro photographers for publicity purposes, not these greedy goofs! Andrew Eccles anyone?! Anyway, have a look and if you’re so inclined, you can order some of Pasha and Anya, or Pasha and the gang, or just Pasha, or anyone else!

The show itself was really cute. I’ll be writing a formal review for Explore Dance, which I’ll link to when it’s up. This was the first time I’ve ever seen a full-length story dance told through ballroom and Latin. The basic story was cute and original: it begins with a boy (played by Mambo King Benito Garcia) interested in a girl (Emilee Peterson, who I don’t know from ballroom but I could tell from the moment she walked out onstage that she had ballet background). The girl shows interest back, but they’re young high school-ish students and of course she doesn’t let him get very far very fast, to his predictable dismay. Eventually, they go out on some dates (there’s no talking by the way; all the non-dance acting is mimed) and he gives her some flowers, she gives him some … ballet tickets, over which he tries hard not to reveal his disgust. Off they go to the “ballet,” which, since this is a dance story told through ballroom, is really a lyrical waltz performed by the lovely American Smooth couple JT Thomas and Tomasz Mielnicki. The waltz moves the girl to tears, the guy to sleep. She shakes him out of his slumber just in time for him to witness another waltz of JT and Tomasz’s — this one combined with some Rhumba to give it a far more seductive tempo (and danced to Celine Dion’s gorgeously sultry “Seduces Me”), during which his attention now wanes not one bit. Now that he sees dance can be sexy, he is enthralled by it, wants to do it himself. The rest of the show is about him learning, the various ballroom and Latin dancers instructing. The ballroom ladies help Emilee lighten up, giving her dance fashion tips, rid her of her glasses and bun, and teach her how to let her inhibitions go in her dancing. The guys have their hands full doing the opposite for Benny — teaching him instead not to let too loose on the dance floor; one needs a sense of rhythm, timing, and body control after all so as not to make an ass of oneself! The two watch some more duets performed by the seasoned pros and eventually try the moves out themselves. At the end, Emilee is so happy Benny’s dancing with her, she puckers up for the kiss he’s earned, but he’s now too busy trying to get his steps right to notice. It ends on a happy note, of course!

Unfortunately, Pasha and Anya didn’t dance a whole lot. They were in two numbers: the first an opening group hip hoppy Samba to “Hip Hip, Chin Chin,” and later a Cha Cha / Latin combo to “Magic Carpet Ride.” Of course they danced spectacularly when they did, though! Anya looks so damn good in a simple black t-shirt and jeans. I recognized some of their hallmark moves in their second number: one where he lifts her horizontally over his shoulders and turns and turns and turns (a similar move is performed at the beginning of the excellent movie Strictly Ballroom — you must see it if you haven’t), and another where he holds her in a low dip, one of his arms free, and looking out at the audience, he kind of commands her lower torso up and down with the wave of his hand, without touching her. It’s very voo-doo-looking, and very cool.

My other favorite couple was Jose DeCamps and Joanna Zacharewicz, current American Rhythm champs, who had several duets — a slow, seductive bolero, a whiplashingly fast Cha Cha / Mambo, and, my favorite dance in the whole thing — a cool, calm and collected, yet sexy, Swing / Mambo that was very West Side Story.

Jose (for DWTS fans, he is Cheryl Burke’s old partner) has charisma galore. This was my first time seeing him on a real stage (and not just the competition floor), but whoa, he really stood out to me and commanded my attention every time he was up there. JT is a natural performer too; I think she could be on Broadway if she wanted to.

Carolina and Felipe Telona (American Rhythm competitors) danced gorgeously too — they did a couple of Argentine Tangos and some sultry rhumbas and boleros. They danced the most of any couple I think. They did this sweet, sad piece, where he is leaving her or dying and she tries in vain to bring him back. They performed it at Nationals last year as well. It nearly brought me to tears both times.

There were also a few numbers by Garry and Rita Gekhman, American Smooth dancers and showdance champions. They reprised their showdance championship-winning number from last year’s Nationals, “Freak-A-Zoid,” which was really cool seeing in competition in Florida last year, but looked a bit out of place on the stage here. Some of the movements, such as releasing their Standard handhold and moving across the vast ballroom floor still perfectly in sync and maintaining frame (pictured below) are so impressive to ballroom judges and afficionados who can appreciate the degree of difficulty, but I think are lost on a more general audience. Plus, the number didn’t really seem to fit: it was sandwiched in between the boy and girl’s first meeting in class after a voice-over has noted how love can be “mathematical” and I guess the robotic nature of the showdance is meant to evoke that. But it seemed more that the story was altered to accommodate the dance rather than the other way around. Still, only a small thing in an overall exciting show.

(all pictures are mine, from previous competitions; visit that Park West website for some pictures of Pasha and Anya — there aren’t many, but there are some!)

Sorry I’ve been so out of it! I can’t believe I couldn’t even wish everyone a Merry Christmas yesterday because I was so drugged up (on major decongestants, pain relievers, and Maxalt, because every little tiny cold of mine seems to lead to an all-out sinus infection, which in turn leads to a several-day-long “migraine episode” as my neurologist calls them…) Anyway, Merry late Christmas

I’m starting to feel better (though I still have hopefully the last of the “migraine clusters” lingering), and I promise to blog soon about all the wonderful Alvin Ailey I saw before I got so sick (and, well, some of it during my illness — if anyone sitting on the left side of the back orchestra at City Center on Saturday came down with anything, sorry; I love this company far far too much to miss a single performance just because I can’t hear or breathe or swallow!!), and of course Pasha’s “Rhythm of Love.”

In the meantime, here’s a write-up by someone who saw Danny Tidwell’s and Rasta Thomas’s ‘Nutz’ (thanks to Rebecca for the link), and here’s a little excerpt of Danny performing Le Corsaire on Selly’s blog. Hope everyone had a happy holiday!

(above photo, by the way, by Andrew Eccles, of Glenn Allen Sims and Linda Celeste Sims in Alvin Ailey’s “Revelations”)

I don’t have much time to write because I need to head off to Alvin Ailey soon, but here are a few pictures I took last night of Pasha after the “Rhythm of Love” show. Very cute show, and review coming soon; if you’re anywhere near Stamford, Connecticut, it’s playing for one more night — tonight. Go here for tix.

Signing autographs for little fans. So cute! All these people were coming up to him afterward telling him how much they loved him and asking for autographs. Elaine (his former student, very sweet lady, in the blue sweater here) and I were teasing him about how we knew him way back when. He insists he’s not “famous” and nothing has changed a bit. And he definitely hasn’t changed — still same sweet guy who always has time for old friends…

Posing for picture with Elaine after the theater has pretty much cleared out. No pics of me because I have a nasty cold and know it can be devastating for dancers to get sick, so didn’t want to stand too close to him (not to mention, I look like absolute crap). It really sucked missing out on my hug though!

With Elaine again, in front of the theater. I always feel like crying whenever I say goodbye to him now…

Public Defender Stuff has nominated me for another “Rodney” blog award (you know, because we PD’s get no respect!) in the category “best PD blog that has nothing to do with the job.” I won in a similar category last year (best title of a blog that has absolutely nothing to do with the job). Last year, my main competition was a knitter; this year there are poets and novelists, and just a bunch of interesting types. I love how they do this; it’s very flattering to be thought of and included, especially since I’ve hardly ever blogged about anything to do with my job. See, PDs are nice lawyers! And arty! And what I do blog about of course gets left out of everything else… Speaking of which, Bloggies noms are coming up soon. Philip and I petitioned them last year to include a dance category this year, but I’m sure that suggestion went right down the toilet… Dance bloggers (and dance writers) get no respect either, man…

So, I thought Karina Smirnoff and Jonathan Roberts were cute tonight with their waltz / quickstep / samba / jive / swing on the ‘Holiday at the Ford’s Theater’ thing. Definitely the highlight of the show. Although, her costume was a bit skimpy — for that kind of special I mean, not for Karina; she is known as the bikini queen for her usual competition attire. I love how they ended with the Charleston. I haven’t had Lindy Hop in a really long time now and I miss that dance. What a dead crowd though! Every time they focused on a spectator he or she looked completely dumbfounded at what was going on onstage. Such the antithesis of an Ailey audience, where everyone’s bouncing up and down in their seats and cheering throughout. Matthew Rushing said when they were on tour in London, people were actually dancing in the aisles! Methinks the Alvin Ailey fans are taking over where the ballet audiences left off after Baryshnikov and the other greats left the stage a couple decades ago…

I don’t have much time to write today, but look at these videos Doug found, of Ellen DeGeneres screwing around with the Ailey dancers. So fun! Don’t you wanna dance just like them?!

Very excited: tonight is a celebration for co-artistic director Masazumi Chaya, and Mr. Ailey’s dance, “Flowers,” a tribute to Janis Joplin, which I haven’t yet seen but have been dying to. And “Episodes,” and “Revelations!” But am also getting kind of sad because their NY season is more than half way over now…

Okay, off to my happy fun office holiday party in which a bunch of lawyers get together and try really really hard not to talk about law. We usually give up after about 20 minutes, often less. Wish me luck…

Can someone please tell me there is no way in the universe this dancer is turning counterclockwise? I can’t for the life of me see her rotating anything but clockwise, and perhaps ridiculously, I have spent the last half hour staring at her. Every right-brained / left-brained test I have ever taken has indicated I am either slightly left or else “whole” — like this one, where I received a score of 10 — right in the middle.

I got the “dancer test” from Miss Tango In Her Eyes, who saw the woman rotating the same way I did. By the way, Miss Tango’s blog is the story of a Canadian woman who fell so in love with Argentina’s national dance, she decided to pack her bags and head down to B.A. for a few months to partake fully of the tango lifestyle. Several months ago, on a hunch, she decided not to board her returning flight to Vancouver. Five days later she met someone and fell in love. Their baby was just born. Awwww!!! I wish I could do something that right-brained…

On Kirven Boyd! I usually end up with a horrible mad crush on one dancer per season and this year it’s him.

(Photos by Paul Kolnick all from Alvin Ailey website, above Kirven on left, Matthew Rushing on right)

Of late I’ve seen him dance with beautiful precision the third man in the quick-paced balletic “Solo” (top photo; I wrote about the piece here); the body-shaking “flag man” possessed by both spirit and rhythm in “Wade in the Water” from “Revelations;” the soft jazzy / modern solo at the opening of “Love Stories;” and the other night he was perfectly frightening while somehow managing to be charming as well, as the leader of the thugs in “The Road of the Phoebe Snow” (which I wrote about here). (Another thing I noticed, that I love about “Phoebe”: the ‘bad guys’ are wearing white and pink.)

“Love Stories” by the way is a dance in several parts with styles ranging from jazz / modern to hip hop, co-choreographed by AAADT director Judith Jamison, modern choreographer Robert Battle, and hip hop guru Rennie Harris. Music is by Stevie Wonder, and I think the title refers, basically to one’s love affair with dance. My favorite part is the beginning solo. Go here (scroll down to Love Stories) to see some excerpts. Clifton Brown is dancing the solo in this video. He’s been my crushee in years past, but I feel like now that he is so famous and every critic in the country and beyond is drooling all over him, it’s a little boring to have him as your favorite! That said, I thought Clifton was absolute magic a couple of years ago and I noticed this season he’s improved even further which I wouldn’t have thought possible. I do think he’s developed into one of the greatest dancers in the country now and it goes without saying you must see him dance if you ever have the chance!

On Thursday night, the company also premiered “Unfold” by Robert Battle, danced by Clifton with Linda Celeste Sims, this season’s royalty, as they seem to be dancing in just about every premiere. It was a very short pas de deux (only five minutes long), but beautiful. Danced to an aria brilliantly sung by Leontyne Price, it’s about, Battle says, the first meeting between a man and a woman. To me, it seemed to tell the story of a man’s discovering and becoming impassioned by this magical, ethereal creature. The curtain opens on Sims doing this breathtaking, and impossible-looking back arch, with no support, just on her own two feet. The position of her body and the way the fabric of her gown drapes in back, it had a spiritual, mystical feel. She looked otherworldly. Clifton sees her in the distance, becomes taken, approaches, pulls her to him, “unfolds” her, perhaps. They make various shapes together, her body alternating between convex and concave. At one point she’s on the floor, her torso and legs in the air, balancing only on the small of her back. He lunges over her and pulls her up; it’s beautiful. But too short! I do want to see more by this choreographer; his rep sounds very interesting. And Kirven danced with his company previously!

Perhaps another reason I like K: he participated in one of the company’s little Saturday post-show matinee talks I saw.

Sorry so dark; I didn’t want to use the flash. He’s in the white shirt. He was so cute talking about his training in Boston and with Ailey II (their studio company), giving little kids advice and signing autographs, etc. I think dancers should participate in more things like this so the public can get a chance to know them. That’s why Danny Tidwell, and Pasha, and Maks and all the DWTS dancers became so popular — of course they’re very skilled and charismatic dancers (people wouldn’t be so into them if they weren’t), but the public also got the chance to know them a bit outside of their dance lives by watching them chat about themselves and interact with others on TV shows. Not everyone can or will want to go on TV, but with the internet, everyone can blog a bit. I know, dancers hate blogging. There are still so few. The Ailey company has two blogs — written by dancer Matthew Rushing and choreographer Camille Brown, but they’re not proper blogs since there’s no comments section, so you can’t interact with them, and they’re very seldomly updated anyway. And you need to join Ailey’s e-club even to access them, which is very easy to do and free, but it prohibits bloggers like me from linking or anything.

Anyway, more on this later, I’m late for a ballroom competition!

Next Wednesday, 12/19, marks the 2,000th performance of George Balanchine’s Nutcracker at NYCB. In celebration, they will have a multiple cast of principals dance the three main roles.

Dancing Sugarplum are: Wendy Whelan, Maria Kowroski, Darci Kistler, Abi Stafford, and Yvonne Bourree.

Dancing Cavalier: Jared Angle, Charles Askegard, Gonzalo Garcia, Stephen Hanna, Benjamin Millepied, Philip Neal, and Damian Woetzel.

Dancing Dewdrop: Ashley Bouder, Sterling Hyltin, and Sara Mearns.

Whoa — that’s a lot of dancers dividing up one small part apiece! Look at all those cavaliers! I’m not sure how exactly they’re going to do this, but I’m deeply intrigued. Not sure if I’ll be able to attend, but I’d definitely love to hear from those who do (Philip!)

Also, as Philip has posted, on January 7th the company is airing the new documentary about the life of beloved (now retired) NYCB principal, Jock Soto. This I definitely plan to attend, as the film will eventually air on PBS; something that everyone can access makes me very happy Go here for more info on both events.

(top photo of Maria Kowroski and Charles Askegard by Paul Kolnick)

Except one look at his website reveals that, like Fabrizio Ferri and Michael Sharkey, he is not really a dance photographer. Enter his website, then click on Dance to see more brilliant photos of the Ailey crew. Above photo, of the beautiful Amos J. Machanic, Jr., is from AAADT website.

So, for anyone who hasn’t heard the breaking news of the past half hour, audition dates for the next season of SYTYCD have been announced. Since I’m lazy, I’ll just link to Maria!

I know several people around here who are thinking of trying out; looks like the nearest audition venue for them will be DC since there are none in NY. Which is fine — DC’s not so far away. Come on, come on, someone else I know go be on the show and do really really well so I can say I know more famous people Just kidding; I just got back from Alvin Ailey and, as is usually the case when I’ve just returned from an evening of watching my favorite dancers, I am all giggles. Oh I love them so! Anyway, excellent luck to everyone I know … and don’t know … who’s shooting for the stars!

I’m so excited. Look what the “Rhythm of Love” people sent me (Again, that performance is next Friday and Saturday nights in Stamford):

These are my favorite pictures of them. They were taken at Blackpool in 2005, the year they placed 2nd in the world in the Rising Star Latin division — their most prestigious placement ever! Look at how gorgeous she is. Look at that costume — oh how I wanted one just like it. She designs her own (remember Danny Tidwell saying how he was going to miss them when she was booted from SYTYCD?!) I always thought when she retired from competition she could become a professional designer. But now of course she is on to far bigger and better things! And how cute is Pasha?! I remember when I first saw these pictures I had just made my first appointment with him at Dance Times Square. I hadn’t yet met him and had only signed up on the advice of a fellow student at my former studio, DanceSport. I did a Google search before my lesson and found these pics and nearly died. My first thought: oh no, he’s gorgeous; I can’t take lessons from him! And her, hello! Of course I was only signing on for lessons, not to be his actual partner, or girlfriend for that matter, but still! Talk about nerves upon first meeting…

Oh, brings back memories. It all seems so far in the past now, although it really isn’t… Anyway, thanks “Rhythm of Love” people for sending them!

In other ballroom news:

it appears many in the Latin world are very hopeful that the new partnership of Yulia Zagoruychenko and Riccardo Cocchi could quite possibly bring America a first-place prize in the Worlds next year. Thank you to Dance Beat for sending this info my way. Apparently, the couple just finished their first competition, the medium-sized Holiday Classic in Las Vegas (which, because of its relatively small size, is an ideal comp for a new partnership to test its mettle). Spectators, including Dame of the Ballroom World, Shirley Ballas, were apparently blown away. (Ballas has formerly coached Yulia and her old partner Max, and I know she’s long been fond of Riccardo). Anyway, these videos are not the greatest quality, but here are some small clips of the two dancing in the finals in the Holiday Classic, and a short interview with Ballas.

I wasn’t in Vegas so haven’t yet seen them dance together, but I have long admired Yulia and have always thought her by far the most artistic Latin dancer in this country.

Here she is at Nationals last year with her former partner Max Kozhevnikov;

And here’s a picture I took of Riccardo and his old partner, Joanne Wilkinson, last year at Blackpool. He was a great showman, and wow could he move. The last American couple to place in the top three in Latin at Blackpool was in 2005 when Karina Smirnoff and Slavik Kryklyvyy took second. Last year we didn’t have a couple in the finals. This year, Max and Yulia snagged an emotional 7th place. Longtime first-place champs Bryan Watson and Carmen have retired, leaving the top position vacant. All I can say is, can’t wait till May!

Everyone, ballet fan or not, has to see The Nutcracker at least once a holiday season, right! It’s a requirement. This ballet — particularly NYCB’s Balanchine version (since that’s the only one I’ve seen in adulthood) — is always magic, especially after the party is over, Clara dozes off, and her little Nutcracker doll becomes a prince and whisks her off to the lands of live Snowflakes and dancing Sweets. I actually think the beginning, with all of the children and adults socializing, goes on for a bit too long; the ballet seems really to come alive after Clara’s dreams begin, the tree miraculously grows up through the ground and out through the roof, and the cute but threatening oversized mice fight with Nut’s army. And what fun those mice are when they squiggle out with their fat little bodies wreaking all kinds of mouse havoc. There was a very high-jumping one, which was very impressive to me, made me think, wow, that must be hard to do in that huge hoop of a costume! I have no idea who that high-jumper was, though, since there are a zillion names in the program and it wasn’t the Mouse King.

My Sugarplum Fairy and her Cavalier were legends Wendy Whelan and Damian Woetzel, both of them giving the perfect performance, as expected. Other favorite people and parts: Vincent Paradiso as the splendidly mechanical-limbed toy soldier come to life; Daniel Ulbricht as the high-jumping, fast-turning male part of the ‘Tea’ threesome; the always giggle-inducing Mother Ginger (ie: the fat lady with all the little ones hiding underneath her skirt), and oh my gosh, Kathryn Morgan as the ‘Marzipan Shepherdess’! I couldn’t figure out who she was at first. There was just this dulcet face shining out at me, commanding my attention. It wasn’t until I got home, looked in the program, and realized it belonged to her. Wow, she has Stage Presence! I saw her last year as Juliet, but I think because I wasn’t all that in love with that Romeo + Juliet production as a whole, I didn’t really notice what she was capable of then. I definitely will want to see her in more things this season. And why is it that Amar Ramasar (as king of the ‘hot chocolate’ people here) can dance smack in the middle of a vast group of people, all of them doing exactly the same steps, and I pick him out right away? Because he has charisma galore too, that’s why! I mean, there’s really no astounding athleticism or brilliant technique or difficult acting skills required for any of the roles in this ballet — it’s more of a children’s classic meant to charm and entertain — so you know if people jump out and grab you from hundreds of feet away, it’s because of something else. I predict that Amar and Kathryn will go far…

And of course the leads. Wendy was an expectedly charming S.Plum, and Damian, whom I am told doesn’t normally perform the role of her Cavalier, was sweet perfection. At one odd point, there was this crazy false fire alarm going off in the lobby and you could hear it a bit in the theater, and it kept going on and off. Well, we all thought it was finally off for good, but right as Damian began his solo, on it comes again. There were some huffs and puffs in the audience — mainly I think because we were all worried it was distracting the poor dancers — but the orchestra had started and it was time for him to dance and there was no turning back, so he just cutely shrugged his shoulders and smiled an “oh well” at us and began his variation. I love it when dancers can roll with the punches like that and even make a little joke out of them! Definitely the sign of experience. By the way, here’s a great video of Damian giving a lecture and demo about the history of ballet in the U.S. to an audience in Aspen, shortly before the Vail Festival, which he founded. If you have the time to watch — it’s a little over an hour long — it’s really informative. Be sure to watch the video clip of the Nicholas Brothers (occuring around the 7-minute mark) — whoa!

Anyway, back to the Nutcracker. My only quibble other than the too-long party scene is — and this may sound really idiotic — but does the Nutcracker / Prince have to be played by a little boy? I mean, when you’re small and you dream about your future knight in shining armor, it’s not the little kid next door, it’s the bigger badder teenage guy who seems so strong and manly and brilliant. I just think it would just be more interesting if an older guy, a very well-known dancer — say, Joaquin — could dance dramatically, stand up to that evil Mouse King for her, and sweep her off to her far away lands. Or does that sound perverted? In the movie he is played by Macaulay Culkin… My friend, Jonathan, thought Balanchine chose children to play all those parts because child viewers could better relate to their own. Maybe that’s true. I think adults can be pretty entertaining too though, regardless of audience age. Why did he use all children?

Speaking of bringing friends with you: there’s an interesting discussion on that subject on Apollinaire’s blog. This is the second time I’ve brought a non-dance friend with me to a classical ballet performance. All I have to say is thank the lord for Tchaikovsky! First time I brought a new-to-dance friend was to ABT’s Swan Lake over the summer. I asked her what she thought. She thought for a while, then said very politely that Swan Lake probably wasn’t really the ballet that would make her a huge ballet fan, but she was definitely willing to try another. But she really enjoyed the evening, she quickly added, because of the brilliant music, which she said she knew well. Tonight, I asked Jonathan what he thought. It was cute, something sweet for kids, he said, we had great seats, it was a good holiday thing to do and he was always thankful for the opportunity to be exposed to something cultural. But what he really loved, he said several times (and this is someone who’s extremely quiet) was the music. He also really enjoyed a violin solo that I seem to have overlooked in the first section, so I know he wasn’t just humoring me. It does make sense that people attach to Tchaikovsky: he’s familiar, and in familiarity there’s comfort, which makes it easier to derive aesthetic pleasure.

Anyway, The Nutcracker is always a fun holiday classic. It’s showing at the State Theater through the end of the month. Go here for the schedule.

I don’t have much time to write today, so just want to point to a few good articles on the web.

1) Joel Lobenthal’s review of recent Alvin Ailey Dance premiere, “Groove to Nobody’s Business.” I loved this dance, as I wrote earlier, but Lobenthal makes me realize why with his discussion of how choreographer Camille A. Brown carefully worked out what I called the kind of spazzing out of anxious would-be subway riders to the rhythms of the music and orchestrated the dancers’ movements into a coherent whole, so that it only looks like a bunch of spastic frustrated jumping about when it’s really meticulously crafted. Also, he made me realize I’d forgotten to mention the fun centipede shape the dancers all make with their in-sync footwork while seated on the subway!

2) Tobi Tobias’s review of the other Ailey piece I just wrote about, “The Road of the Phoebe Snow.” Scroll down to the bottom of this post: I love how she talks about the advertisements for the railroad and how snow-white Phoebe was portrayed, and how choreographer Talley Beatty, who lived near those tracks and knew well the surrounding area, was showing what really went down along them. I wasn’t familiar with those advertisements and they shed light on Beatty’s work.

3) This has nothing to do with dance, but Malcolm Gladwell has an excellent article / book review in this week’s New Yorker showing how so-called IQ tests measure, basically, class. So all those claims that such tests show one race’s inherent intellectual superiority over another are all enormous mountains of racist idiocy.

As all the restaurants in my neighborhood post their posh New Year’s Eve menus in their windows, I, currently planless, as I seem to be every year until just about the night before, am forced to wonder again, “uh, what am I gonna do this year?” Here’s something intriguing that I found on Gothamist. It’s a five-course dinner at West Village French bistro Camaje, with various performances scattered throughout the evening. Hook is that all guests are blindfolded the whole time. Waiters and aids of choreographer / performance artist, Dana Salisbury, who puts on the show, guide you to your fork, wine glass, and to the restroom if your raise your hand. I actually wouldn’t be all that scared of trying new food, but how would you cut it — I guess things come in bite-sized portions, or do the hosts decide how much each patron can fit into their mouths? Perhaps ridiculously, this is honestly a problem for me — I have an extremely small mouth and an ever so slight disorder that crops up from time to time, usually when least expected. Anyway, more quizzically (to me at least), how do you “see” the dance? Apparently you rely on your aural senses. In years past, the dancer has been a tapping man using his entire body as an instrument. Hmmm. Other aspects of this most audience participatory performance include artists blowing in your ear, running a feather down your neck, and the like. I don’t know if it’s for me but it sure sounds sensually stimulating!

On an unrelated note: for my fellow book lovers out there, The Millions has just published a most comprehensive best-of-the-year list compiled by its various well-reputed contributors. Click on each writer or blogger’s name and you’ll be directed to their recs, as they’re posted. I got the link from The Elegant Variation.

Alvin Ailey American Dance Theater recently premiered two new pieces: a brand new work by young choreographer Camille A. Brown called “The Groove to Nobody’s Business,” and a re-staging of Talley Beatty’s 1959 “The Road of the Phoebe Snow.” I loved both of them.

My horrendous near half-hour wait for the blasted downtown A train on Saturday night en route to City Center unfortunately made me all too able to relate to the first piece on that evening’s program, Brown’s “Groove,” a shortish but cute exploration of subway riders’ interactions with each other whilst waiting for a train that takes its damn time.

The cast of characters is a colorful group of urbanites including a few people either coming from or going to work, a be-suited man with his face buried in a newspaper, a pair of young lovers at first trying to make out then getting into a quarrel, and several just everyday street people, at first waiting endlessly on a subway platform, then eventually on the bumpy train. The piece begins with a young man in dressed-down corporate attire (button-down shirt, tie, and dress pants) going a bit nutty over the wait (he’s been on the platform the longest). He does a little spastic dance, then with an angry huff plops down briefly on a bench, annoying another business man, this one the fully-suited man trying to read his newspaper. Several others walk cooly and slowly from the wings to the bench, their torsoes cartoonishly jutting way out in front of their legs in a way that reminded me of a cross between Fat Albert and The Triplets of Belleville. Eventually these others begin to mess about with each other, ‘waiting forever guy’ gets up to do another jig of annoyance, and ‘newspaper guy’ who can’t get no peace, jumps up and performs a series of rather beautiful turns then high jumps in bent-kneed attitude as if to say “could everyone please leave me alone!” At times, the whole group gets up to stand at the platform’s edge and peer down the tunnel searching for a nonexistant train. The ironic upshot is that when the train does finally arrive, poor ‘waiting forever guy’ is doing his spastic dance of frustration so frantically that he ends up missing it.

Music, by Ray Charles and new composer Brandon McCune, provides the perfect tempo. I should know. I was once on a West Coast Swing team. My coach decided that the ideal music to show off our lovely rhythmic versatility would be a combination of Charles’s slow, cool “Night And Day” and the insanely fast-paced “All Night Long,” the latter of which was used here. My coach overlooked the fact that we were a bunch of amateurs. When the music switched to the second tune, far from looking like sexy cool west coast swingers, we looked like gerbils on Speed. We didn’t place so well needless to say… Anyway, here that music gave the dancers the ideal tempo for their crazed fast ‘flipping out’ moves, and served as an excellent counterpoint to the long, slow wait. Overall, the dance was cute and comical and, to someone who used to live in Queens and was reliant on the evil N (Never) and R (Rarely) trains and who actually once calculated the time lost over the course of a year to standing on a subway platform — a number of days — it was very relatable.

“The Road of the Phoebe Snow,” is much more sobering, but brilliant. “The Phoebe Snow” refers to a train line on the Erie Lackawana Railroad and is, according to legend anyway, named after an uppity, wealthy female patron who used to frequent that line and would look down on the passing countryside with disdain. The piece has a very West Side Story feel to it, and is about the relationships between the young have-nots who lived near those tracks. It centers on two couples, one innocent and in love, the other more mature, their relationship more composed of seduction and sex turned into anger.

The choreography is just so superb, it made me realize what is missing in a lot of contemporary work. At the beginning, Clifton Brown (dancing the part of the youthful innocent lover) does a series of whipping fouette turns, but once every two or three turns, where a few multiples pirouettes would normally be thrown in, instead he kind of bounces around on one leg in a full circle. It looks very young and excited and full of the kind of cool bravado a youth from the proverbial wrong side of the tracks would display. Both couples perform a series of lifts, but the first pair’s are grand, sweeping, high-over-the-head ones as if to show their being in love, whereas the second couple’s are full of brutal sexuality, at times the woman lifting one leg into the splits and resting it on the man’s shoulder, he dragging her across the floor. Instead of lifts just thrown in haphazardly or for spectacular effect, here they have a specific point; all movements are used to illustrate the characters’ actions and they’re different depending on the characters’ personalities and relationships.

The fight scenes are well orchestrated too. Later, in one of the innocent-young-love duets, a former beau of the woman watches with jealously, seething. Eventually he fights her new lover, and she is prevented by the old boyfriend’s gang from helping her new love while he is beaten. Then, as she is attacked by her ex and his cohorts, others look on, avoiding getting involved. It’s sad but authentic, and the story is told thoroughly through the movement, so that minimal “acting” in the traditional sense is required, though the Ailey dancers are all excellent at both. All four leads here — Clifton Brown, Linda Celeste Sims, Glenn Allen Sims, and Briana Reed (who, of the women in particular, is blowing me away this season) gave poignant, moving performances. I love this piece; its subject matter, emotional depth, and compelling choreography is perfect for Ailey and I’m glad they’ve brought it back into the rep.

(photo by Mark Sadan, copied from Ballet Co)

Early last week I saw Shen Wei Dance Arts give a Works & Process presentation at the Guggenheim. This was my first time seeing this company, although I briefly saw Mr. Shen in David Michalek’s Slow Dancing Films. (I think “Mr. Shen” is right, by the way: first name follows the last in Chinese?…) I know this company has performed at many festivals around the world, and is a favorite of the Lincoln Center Festival, and after seeing their New York premiere of “Behind Resonance,” I know why.

The piece began with a group of dancers wearing unadorned but gorgeous floor-length, gray velvet garments (strapless dresses for the women, skirts for the men) walking majestically across the stage, finding a spot then standing perfectly still, and making a pose. After a few seconds, they would move, walk to another place on the stage, or sometimes in the audience, and do the same, stop in pose. In a sense it was like a fashion show, but I don’t mean that in a bad way. They weren’t making runway poses; rather they were making various shapes with the beautiful fabric. One female dancer leaned up against a side wall, her hands pressed hard against it, and her legs about two foot-lengths apart so that the fabric made a kind of triangular shape, like a large cone. Another would lean over a rail aligning the ramp leading from audience to stage and wrap one leg around it, the fabric stretching over and creating a kind of fan shape.

After several minutes, the dancers began taking various upside-down positions when they stopped. One man sat in the middle of the stage, then rolled back on his elbows and lifted his entire body up, where he held it, his legs spread apart so that the fabric now made an upside down triangle. A woman did a hand-stand against a back wall. It was interesting because, as the dancers walked the material trailed flowingly behind them, like a bridegown. I would have thought as they lifted their legs into the air, the gowns would have fallen straight down, but they didn’t; they stayed put at the dancers’ outspread ankles. The lights were dimmed into a kind of bluish haze and it was so visually mesmerizing.

After a few minutes of this, the dancers now began to pair, men lifting women, both making the triangular shapes now — the men upright with their legs spread about two foot-lengths apart, the women in the air. Not all lifts were the same of course, or that would be monotonous; one man would be holding a dancer in a horizontal overhead position, another would be held upside down, another upright in a back T position behind the man, etc. And not all dancers stopped in pose at once; they each had their own timing. So, as one was posed, another would be in the midst of a lift or finding a position.

Finally, after a few minutes of this, the lights dimmed more, and, as some dancers were still performing the lifts, the curtain widened to reveal two women, now wearing only flesh-toned shorts, rolling together very very slowly on the floor. As they rolled toward the audience, their bodies would become entangled with the other so much so that they began to resemble one, two-torsoed, contorted body. It began to look like a two-headed mermaid crawling on the ocean floor. Then the opposite curtain widened to reveal another female dancer on the other side of the stage, this one alone, rolling very slowly as well, but going backward instead of forward. Her body would slowly bend back, first from the hips, then the waist, then the collarbone, then the chin. When she rolled back at the collarbone, she looked completely headless for a time. Both the ‘two-torsoed creature’ on the opposite side of the stage and this woman looked simultaneously grotesque and beatific. The whole thing was simply enchanting. The music, which I hardly remember since I was so stunned by the visuals, was by David Lang, and was simple with an air of mystery, consisting of a bland background hum spiked with some bells every now and then. And these were only some excerpts from the piece; I’d so love to see the whole.

Though Shen Wei is from China, his troupe is multicultural, as it seems is their repertoire. At times in the beginning of this piece, the dancers would look almost like Tibetan monks, the way they walked in such a determined, straight-forward manner to their chosen destination for a pose, where, even when leaning their bodies in a pained-looking manner against a wall, their faces remained impassive, ascetic. At other times, they kind of resembled elegant Western models.

Mr. Shen recently traveled back to China and throughout Asia, to Tibet and Cambodia. He’s currently making a larger work called simply “Re” as in re-birth, re-newal, re-envision, re-visit, re-work — fill in the blank basically, about these travels. He showed us some slides of pictures he took there. I was most mesmerized by photos of trees in Western China. These enormous trees would somehow grow not from the ground, but atop a building. So, he had these pictures of a gigantic tree centered right on top of a mosque or a house, its roots snaking down the sides of the building. They were eerily breathtaking, just like “Behind Resonance.” I’ll be very interested to see what all Shen Wei does with these images, how he translates them into dance. The project is set to premiere in 2009. In the meantime, according to Danciti, the company will be performing Monday night at Cedar Lake, with many others, as part of the Dancers Responding to Aids benefit, if anyone is going to that. (I can’t afford to!)

A little note on a couple of my favorite SYTYCD stars’ upcoming gigs: Pasha and Anya will be performing in “Rhythm of Love,” at The Palace Theater in downtown Stamford, Connecticut, on December 21st and 22nd. I will definitely be going to this. The show is billed as “Ballroom meets Broadway” and will include both Latin and Standard ballroom as well as theater dance, and is narrative-driven, telling the story: boy meets girl, boy loses girl because he can’t dance to save his life, boy learns to dance and gets girl of his dreams. Aw, sounds cute! “Boy” by the way is played not by Pasha but by another dancer I’m familiar with, Benito (Benny) Garcia, who most definitely CAN dance (particularly a bad -ass mambo). Lead girl is danced by newcomer Emilee Petersen. In addition to Pasha & Anya, the show includes top American ballroom pros J.T. Thomas & Tomasz Mielnicki (Smooth champs), and Jose DeCamps and Joanna Zacharewicz (#1 in Rhythm), as well as the couple who took first in showdance last Nationals, Garry & Rita Gekhman, and another favorite couple of mine, Felipe & Carolina Telona.

(above photo of Gekhmans, and photo atop that of Telonas, both from the press release; top photo of Pasha & Anya — of course! — by moi ). Go here for more info. Thanks again to Laurel for alerting me to this!

Second, Danny Tidwell is scheduled to perform in a San Diego Nutcracker from December 21-23. Performing with him will be… eeeeeee, the wondrous Rasta Thomas! How jealous am I of you San Diegans!!! Sadly, I won’t be able to attend, as I live on the opposite coast, but anyone who does, please do let me know how it goes! Go here for info on that. Thank you to Rebecca for emailing me about this!

(above pic from Kumquat Cupcakery, who supplied the evening’s goodies)

A while ago I posted about a new bakeshop that recently opened on Wall Street. Well, I haven’t yet had a chance to make it over there (not so much because I’m lazy as that it’s been freezing and often rainy or sleety or slushy outside and it’s about 10 blocks away from my office, a lot farther than I’d hoped). So, to make up for my steadfast resistance these last couple of weeks, I dragged Alyssa with me to this lovely little event last night! (Author Rachel Kramer-Bussel is a MySpace friend of mine and she’d posted about it there; read the MediaBistro write-up here.)

It was splendid! Alyssa and I each had four cupcakes apiece. My favorite by far was this mini chocolate cake with chocolate frosting (being the chocolate lover I am), but most excitingly, surprisingly delicious was the middle. When you bit in, a creamy vanilla center just oozed out, flooding your mouth. I loved it! To me, the worst thing about cupcakes is all the cake — I like the frosting and will often half the cake height-wise and only eat the top. So, very happy was I to find a big mound of frosting smack in the middle of the bottom half! Alyssa’s favorites were the very popular red velvet, and a peanut butter-flavored mini. I didn’t get a chance to try that one apparently because I was busy placing my drink order when they were whizzed around.

It was a fun night. They had three raffles, giving away a stationary set bearing a cupcake design, a necklace with a cupcake pendant, and grand prize was an apron and oven mitten set featuring embroidered … guess whats! Apparently, the blog has a meet-up group which gets together every so often to try the City’s various new cupcakeries and learn cupcake design, etc. Hmmm…another group for me to join? Only if I promise myself to go to at least some of my Sambazina events.

The meet-up was held at the Beauty Bar on East 14th Street, which I’d never been to before. Walls were covered with vintage posters of women being coiffed, but what surprised me was that they actually have little manicurist booths where you can have your nails done whilst boozing it up with friends! Cool idea.

Afterward, after four cupcakes and a glass of red wine I was feeling my blood sugar soar a bit, so we headed to Veselka, the East Village’s 50-year-old Ukranian deli, and forced ourselves to eat things that are good for us (ie: borscht and stuffed cabbage). When I very first moved to New York I lived on 9th and Avenue A, the heart of the East Village and just around the corner from this homey little place, and I haven’t been back to the area much since, so it was kind of nostalgic.

Anyway, on the subway ride home I ran into an old acquaintance from my studio who accusingly asked me where I’d been. “Saving money,” I told her. Seriously, I’d meant to sign up for groups this month, but had other things going on on Monday nights, when my favorite instructor teaches. I really really really must sign up for January’s classes though. Especially now…

I found this Entertainment site poll on favorite Reality TV show winners from Ted. When I last looked, the top three were all from the dance shows: Apolo from “Dancing With the Stars,” followed by Sabra from “So You Think You Can Dance,” then Helio from “DWTS” in third. Woo hoo, Dance takes the cake!

I love this dance company so much. And I love Alvin Ailey’s work in particular. AAADT artistic director Judith Jamison quotes Ailey as having said that his choreography is the result of his “blood memory” of his southern boyhood. He said the greatest works of art are the most personal, come from the deepest-rooted place. Nothing could be more true.

(Above photo of “Revelations;” all photos courtesy of Paul Kolnick.)

So, my own Alvin Ailey season began last Saturday afternoon with Mr. Ailey’s “Night Creature,” one of my favorites and a dance that I would call a combination of ballet, jazz and Afro-Latin / Samba centered on a sweetly spotlight-demanding jazz diva and her man servant, backed by a large ensemble of dancers, and set to Duke Ellington music. The movement was a combination of beautiful ballet — soft, slow, fully extended developped legs, arabesques and partnered lifts; cool jazz hands and rhythmic hip swaying side-together steps; and, yes, Samba! It is so very cool for me as someone who has only very basic ballet training but much more extensive ballroom experience to be able to recognize so many steps!

Near the beginning of the piece, the ensemble circles around the central dancers by doing what are basically Samba voltas (back foot takes a side step, front crosses over and pelvis rotates fully), or even a kind of Salsa Suzie-Q if you know what that is, later, dancers slither forward in sexy, snaky pelvis-undulating cruzado walks, then there are stationary samba walks (feet together, then one foot slides back while the corresponding hip cooly juts upward and outward), side sambas, whisks, everything. It’s so exciting; I just want to scream out, “I can do that!” But of course I can’t — at least I can’t do it anything like those miraculous dancers. If I could, if I could be a real “night creature,” how my dance dreams would be complete! Anyway, I love how this work splendidly blends European Ballet, Afro-Latin Samba, and American Jazz — it’s everything; it’s brilliant.

Second was “Solo,” a shortish piece by choreographer Hans van Manen from 1997, danced to classical Bach. In this piece three men each take turns performing a series of solos, charmingly vying with each other in a kind of ‘who can be the most fast-footed, nimble dancer’ contest, each performing his own staccato interpretation of the very quick-tempo-ed violins. Some solos used a more classical vocabulary and were more poetic, others more of a comical riff on the classical. At times, it would seem that at the beginning of his solo, a man would be playfully taunting the previous dancer by making fun of his routine. This reminded me of a B-Boy showdown, like that I saw in a Tribeca Film Festival film earlier this year. Very fun! At the end, all three men take the stage at the same time and try to outwit / outdance each other. It’s a charming piece, and the classical music and balletic vocabulary is a nice contrast to the jazzy sexiness of “Night Creature.”

The company also premiered “Saddle Up!,” a new comical story-dance by Frederick Earl Mosley, about several ranchhands and their romantic pursuits. The piece begins with a rather innocent-looking new sheriff riding into town on his stick horse, having no idea what awaits him. He “parks” his “horse” and the scene shifts to a wedding he officiates between two doe-eyed young lovers, attended by two sisters — one flirtatious and sultry and donning a bright orange feather boa, which she tries to lasso around various men, the other silently sad but the object of affection of the wedding photographer, who continuously snaps her picture, she smiling, but only briefly and only for his camera. There’s a suggestion of scandal to come when the tossed bouquet is caught by sultry feather boa woman.

After the wedding, the scene shifts to an innocent young woman who is apparently about to be corrupted by a flirtatious womanizing outlaw. New sheriff, however, saves the day after he is victorious in a hilariously acrobatic, laugh-out-loud showdown with said outlaw, which promptly causes the young innocent woman to fall madly in love with her knight in shining armor. She does a beautiful little lyrical dance with the sheriff’s hat, which he has accidentally left behind. When he returns to retrieve it, they skip off together into the sunset, holding hands. Aww

The rest of the scenes consist of a lyrical, tenderly-danced first lovers’ quarrel between the newlyweds, and an equally tender courting scene between the photographer and the sad woman. This is followed by a fast-paced, fun, light-hearted scene in which feather boa woman is pursued by a whole bevy of cowhands who try to wow her with their partnering abilities. Lovely lifts and swingy, waltzy dances ensue. It ends with a big square-dance hoedown. It’s a fun, lively piece and the dancers are marvelous comical actors.

Still, cute as “Saddle Up!” was, it didn’t hold a candle to the last dance on Saturday’s program, “Revelations.” But I guess it’s unfair to compare anything to Mr. Ailey’s masterpiece. If you haven’t ever seen this dance, if you haven’t ever seen Ailey, if you’ve seen “So You Think You Can Dance” and the other TV shows and are now thinking of going to see a concert dance performance, please please please start with this one! Seriously, it’s everything. It’s about spirituality, redemption, grace, freedom from oppression through religion, it’s a celebration of faith and of life itself. It speaks to everyone because everyone — at least in this country (and now Sir Alastair too ) is familiar with the black church, with its celebration of life and freedom, with its history and pride and roots in the civil rights movement. Not to sound cheesy and Oprah-ish, but it’s so uplifting. The first time I ever saw it was not long after 9/11 and I was bawling when it ended. For a work created over forty years earlier, to me that’s the definition of timelessness.

It’s funny but my favorite parts of this dance change every few times I see it. The first few times, my favorite was the very end, “Rocka My Soul in the Bosom of Abraham,” a swingy, very upbeat number involving the whole ensemble dancing in a church setting to a hymnal. Makes you want to get up out of your chair and dance with them, and sometimes, when they do an encore, the audience does! Then my favorite became “Sinner Man” another quick-tempo-ed, but more sober number in which three men run about the stage, frightened, attempting vainly to escape the wrath of God, and in doing so, perform breathtaking jumps, leaps and turns. Then I began to love “Wade in the Water,” the Baptism scene (pictured at the top of this post) in which ladies in glorious white carrying sun umbrellas, men waving two long blue sheets across the stage, and one man flickering small flags about with his arms and rolling his torso as if it was fluid water, all make you feel like you’re at the beach being baptized along with the two young souls onstage. This time, I was blown away by “Fix Me, Jesus,” a slow, beautiful prayer of a pas de deux danced by a man and woman to a slavery spiritual.

The company dances “Revelations” with a great many of their performances; please do try to see it if you never have!

On Sunday, I saw the company premiere of “Firebird,” the version from 1970 by French choreographer Maurice Bejart. Bejart, who recently passed away, was known for taking classical ballets and re-working them using modern dance and just amazing athleticism. His ballets were often male-centered.

Here, the curtains rose to reveal an ensemble of dancers dressed in splotchy gray baggy pants and tops. The coloring of the costumes to me resembled Army fatigues, so, that along with the way the dancers would huddle together in fear, then fall to the ground crouching, crawling toward something they saw far in the distance — safety from an encroaching enemy perhaps — made me think this was a war scene. I later learned that Bejart had intended his “Firebird” to be a kind of salutation to Mao Tse Tung’s Red Army, so perhaps these corps dancers were supposed to be workers. The outfits almost resembled a painter’s garb, now that I think of it. Regardless, the ensemble dancers were downtrodden, the fearful, those in danger. Suddenly, one of them, a man, threw off his drab earthly costume to reveal a bright red body suit; he was their savior. This firebird was danced brilliantly by Clifton Brown (in the picture above), who soared around stage in a series of gorgeous leaps, taking time out here and there to perform more adagio poetic developpes and turns.

The choreography was really interesting to me. The firebird is traditionally female, and here, Bejart’s is male. But his bird is not only powerful, leading the corps to freedom, but is beautiful and delicate and lyrical as well. So the dancer must excel at both the more masculine feats — the grand jetes, the high jumps — and the more lyrical feminine adagio parts, the developpes and arabesques. Brown is such a tall, large-boned man, and it amazes me how soft and delicate and graceful he can be.

Soon, the firebird exhausts his power, dancing his heart out as he does, for the people, and he slowly and tragically dies. The corps is shattered but only momentarily, as, through the aid of another firebird, this one played by equally larger-than-life Jamar Roberts, in an enchanting two-male pas de deux filled with beautiful lifts, the original firebird rises again like a Phoenix.

It’s set to the original Stravinsky music. This was my first time seeing something by Bejart and overall I found it spectacular. There have been all of a bizillion and a half write-ups in NY about this company and, in particular, this piece. Go here for a pretty comprehensive list.

Last on for Sunday was Twyla Tharp’s fast, fun, glittering “Golden Section” from 1983 danced to pulsating David Byrne music, the dancers bedazzling in gold costumes. The movement varies from lyrical ballet to sexy 80s-style body rolls, pelvic-gyrations, partnered “death spirals” the likes of which I’ve seen in Disco / Hustle competitions, and absolute death-defying lifts (a man tossing a woman from afar into the arms of a group of men, a woman running and throwing herself at an unsuspecting man, hoping he’ll catch her). I would be so scared to perform this piece! Jamar Roberts took my breath away with a series of whipping fouette turns with multiple pirouettes thrown in. He blew everyone away actually; he received some major applause for that.

This is Tharp’s Modus Operendi: the combination of classical ballet with other kinds of contemporary dance – social, ballroom, jazz, swing, Latin, disco, whatever the popular dance of the day is. It allows her always to stay fresh, exciting, contemporary and accessible to new audiences.

What I love about this company in general is that they choose to perform choreography like this: pieces that combine different forms of dance that can speak to different generations, but also works that, like Ailey’s, are timeless because they touch your soul, speak fundamentally to the human condition. And the great thing about this company is that they TOUR, so you don’t have to live in NY to see them!!! Go here for their upcoming schedule.

This is so horribly sad. I had heard about this several-vehicle collision in New Jersey the other night on the news, and I had heard Jennifer’s name mentioned and that she was a dancer with ABT, but for some reason I didn’t know she had actually died; I thought she was only injured. Her husband, Julio Bragado-Young, also with ABT was injured and is still, it appears, in critical condition at Hackensack University Medical Center. A man in another car was killed as well.

Jennifer, her husband, and two other dancers were returning home from guest-performing in a Nutcracker in Pennsylvania. In addition to dancing with ABT, when she came to NY in 1993 she danced in Broadway productions of The Red Shoes and Carousel. Speaking of “Center Stage,” she was featured in that movie as well.

You see someone onstage many times and you think you know them, but of course you don’t. I particularly remember her from The Green Table. She is in the yellow dress. So sad.

A little birdie at the Guggenheim last night told me that none other than David Hallberg is scheduled to perform ABT’s upcoming Works & Process event there in January!!! Julie Kent is slated to dance as well

I am behind on my reviewing, but am working hard on my Alvin Ailey post (it’s really difficult to write about something you love; you keep feeling like you’re not doing it justice…) and, after that, Shen Wei Dance Arts at Guggenheim, which I saw last night. In the meantime, here’s a funny, but informative Winger post about NYCB’s Justin Peck getting made up to dance the role of Mother Ginger in their Nutcracker. Growing up, “the fat lady with all the kids under her skirt” was always my favorite part of that ballet, so I really enjoyed this.

This just in from Hanna Rubin at Dance Magazine. The filming of the movie Center Stage 2 is currently underway in Vancouver. The original Center Stage came out in 2000 and was kind of a cult hit among fans of American Ballet Theater and NYCity Ballet starring as it did several dancers from those companies, including ABT’s lovely Julie Kent and heartthrobs Ethan Stiefel and Sascha Radetsky. It was cute in an ABC After School Special kind of way and detailed the drama taking place at training school for pre-professional ballet dancers replete with eating disorders, body-type issues, harsh disciplinarian teachers, and back-stabbing hyper-competitiveness. And there was a little love triangle in which Ethan, as the cocky womanizing shit, and Sascha, as the nice guy, vie for the attentions of the main female character. Blast if I couldn’t find a YouTube of the little dance competition between these two guys, my favorite part. But here’s one giving a good musical overview of the whole.

Anyway, according to Dance Mag, Ethan will be reprising his role, this time playing cocky-shit dancer as well as cocky-shit teacher This time the main character is a small-town girl, played by newcomer to the big screen (? — I can’t find anything on the web on her), Rachele Smith, who enrolls at the academy with hopes of making it as a pro ballerina but who is also passionate about hip hop, and is hence an object of scorn by some of her ballet classmates. Ethan, it appears, will be dancing some hip hop. Fun fun! And he sounds very excited about it. According to the e-newsletter: “‘It was fantastic! I’m not sure I was necessarily successful, but what was beautiful was the collaboration with the other dancers. At this point in my career, when learning something brand-new like this falls into your lap, it’s challenging and exciting.”

I hope the sequel is more sophisticated than the original, but even if it’s not, watching Ethan dance hip hop should be worth the price of at least one admission.

My review of the Dance Times Square student / professional showcase is now up on Explore Dance. The first without Pasha & Anya. Sad indeed, but, still, a fun-filled night with a lot of great dancing that succeeded in its aim: to propel spectators to want to get up and Mambo, Swing, and Foxtrot the night away themselves.

I’ve spent the weekend sprinting like a madwoman back and forth between 44th Street, where the Small Press Book Fair happened, and City Center, where Alvin Ailey season is currently underway. Yesterday I saw a wonderful program including one of my favorite dances of all-time, “Revelations,” which everyone should see at least once in their lives, along with a cute new western-y piece, “Saddle Up!” and the very jazzy, even samba-y (yes, Alvin Ailey knew Samba very well!), “Night Creature,” a tribute to Duke Ellington. And tonight will be more of the same. Ailey is simple the best. I love this company so! I plan to blog about both performances at some point tomorrow, after a sure to be grueling morning oral argument in court. Grueling because the case law is contradictory and perplexing, and because I have an extremely formidable adversary who is known for eviscerating his opponents alive. I know, all lawyers are scary (except me ) but no, this one is worse worse worse! Help!