Mikhail Baryshnikov and Ana Laguna are in Santa Monica where they’re beginning a U.S. tour. Program includes choreography by Mats Ek (Laguna’s husband), Alexei Ratmansky, and Benjamin Millepied’s Years Later, which consists of a solo for Barysh juxtaposed with movie clips of his younger self dancing. Critics say it “should bring a new respect to middle-age dance performances.”

I’m excited to see the Millepied as well as the Ek piece. Here are some clips from another of Ek’s dances for the pair. Baryshnikov still looks like Baryshnikov — the way he moved in White Nights, the way he danced Tharp’s Push Comes to Shove…

(top photo from Hawaiitheater.com)

If you’re in New York, I just received word that Pasha Kovalev (Broadway and TV star ) will be teaching a workshop at the New York Hustle Congress. The workshop is on  Sunday, September 6th at 6:30 p.m. and lasts one hour. He’ll also be participating in the Congress’s “Hustle with the Hounds” event — to benefit animal rescue organizations — the prior Saturday night (Sept. 5).

Most fun! I’ve been to this Congress before, a few years ago, and it’s pretty happening. There are workshops, performances by pros, pro/am competitions, and lots and lots of social dancing. It coincides with the New York Salsa Congress down the hall in the same hotel, which has the same. Go here for more info.

Also — this just in — Pasha and Anya are going to be on television several times this weekend with Burn the Floor’s creator Jason Gilkison. They’ll be on NY-1’s “On Stage” program, which airs four times throughout the weekend: Saturday, August 29th (today) at 9:30 a.m. and 7:30 p.m., and Sunday Aug. 30th at the same times — 9:30 a.m. and 7:30 p.m.

Finally, Pasha and Anya will appear on Channel 11’s Morning News Show this Monday, August 31st. The show airs 7-9 a.m.  They’ll perform a number from Burn the Floor.

on Dance Channel TV. He talks with Los Angeles critic Lewis Segal about his injuries, his return to the stage, the meaning of classical dance, his role models, his work in Center Stage, and his future. Pretty good interview.

Photo by Marty Sohl, taken from ABT website.

My new balletomane friend (who I met this past ABT season), Marie Mutsuki Mockett, has a book due out at the end of September. It’s her debut novel, Picking Bones From Ash (published by prestigious indie house Graywolf), and so far it’s received a couple of great reviews. Go Marie!

It’s the story of two women, a mother and daughter, one Japanese, the other Japanese-American, and it takes place between Japan (past and present) and San Francisco. I haven’t read it yet but can’t wait! I love novels that examine gender across cultures and generations, and it looks like it has a fair amount of suspense to boot.

For those who missed it last night (as I did; was out watching this excellent albeit very disturbing film), here is a clip of Anna Wintour’s David Letterman appearance last night. I love how he gets her to talk about Devil Wears Prada and how real the character is who’s allegedly based on her, when it’s so obvious she really doesn’t want to go there. Hehe, go Dave. No seriously, Ms. Wintour was spotted several times at ABT during the recent Met season so we like her for that reason alone. Plus, DWP is fiction…

She does seem a lot more nervous than I’d expect, and a lot younger.

Very excited. One of my favorite actresses will be dancing at BAM’s Harvey Theater from September 15-21 with Akram Khan in their collaborative work, in-i (post-show talk with her and Khan is on Sept.17). I’d actually blogged about this a while back after seeing it reviewed in the English papers, so I’m very glad they are finally bringing this show to the US. Here’s a sampling of how it was received in the UK.

And, to coincide with the dance tour, BAM Cinematek is having a downright mouthwatering retrospective of her films. It begins with her latest movie, Paris, on September 11th. Following that 7pm screening, she’s to give an audience Q&A with the film’s director Cedric Klapisch. (Only prob with the retrospective: BAM doesn’t appear ever to be screening The Unbearable Lightness of Being…)

Also on September 11th, earlier that evening, at 6pm (I honestly don’t know how she’s going to fit all of this in…), she’s scheduled to be in uptown Manhattan at the Barnes & Noble Lincoln Square to talk about and sign copies of her new book, Portraits – In Eyes. (Binoche is currently taking a year-long hiatus from her acting career to fulfill other artistic passions — dance, poetry, and painting). This time B&N is making clear up front seating inside the little glass-encased area is primarily for book buyers.

All of this is exceedingly cool for Binoche fans, like me

(Above image taken from Aufemin.com)

Wow, there are a lot of video clips up of the many many companies and dancers that performed at this year’s Vail International Dance Festival. Here are some of my faves:

Dance Brazil in a modern / capoeira combo, Luna:

Daniel Ulbricht and Misa Kuranaga doing a Corsaire pdd:

Sofiane Sylve and Simon Ball in Forsythe’s In the Middle Somewhat Elevated:

Wendy Whelan and Edwaard Liang (dancing with Morphoses) in Forsythe’s Slingerland pdd:

Matthew Rushing in Ailey’s beautifully bluesy Reflections in D:

Linda Celeste Sims rehearsing Ailey’s classic Cry:

Gillian Murphy and Ethan Stiefel’s Black Swan pdd:

Tyler Angle and Tiler Peck in the pdd from Wheeldon’s Mercurial Manoeuvers:

Some Lindy Hop with Naomi Uyama and Todd Yannacone:

And some Argentine Tango by Natalia Hills and Gabriel Misse:

There are many more vids and photos though, so visit the festival’s blog. I don’t see any up yet of the Ballroom evening — Hanna Karttunen and Victor DaSilva and J.T. Thomas and Tomas Mielnicki, et al. Hoping to see some of those soon. Excellent blog though, letting peeps who couldn’t be there in on what all went on. And splendidly diverse festival!

I haven’t yet used ClassicalTV.com — it just launched in July — but apparently it’s a website where you can order videos and live performances streamed to your computer. On September 17th, you’ll be able to see The Bolshoi’s production of Spartacus starring Carlos Acosta (in photo above, from Comono) for $9.99. They have opera and jazz and pop music concerts as well, and from August 20-23, in honor of their launch, they have some free jazz streams. Go here for more info on the free and other programs; explore their dance archive here.

Photo by Bruce Weber, from Vanity Fair.

So London is abuzz about the Royal’s official announcement that Christopher Wheeldon will make a full-length ballet based on Alice in Wonderland, set to premiere in 2011.

I’m excited, especially since some of my favorites of his have been his more dramatic ballets, like The Nightingale and the Rose. Thankfully, he doesn’t plan to make a children’s ballet: “A lot can be read into Alice in Wonderland. One could take the more Freudian route…” he says.

Critics expect Wheeldon to “bring a sophistication and an understanding of the darker sides of the text.”

Music will be by Joby Talbot, whose work he also used for the mysterious, poetic Fool’s Paradise, which makes me all the more intrigued.

Photo of Fool’s Paradise by Andrea Mohin, from NY Times.

Karina Smirnoff talks about two books she’s currently working on with Galley Cat’s Jeff Rivera.

Here’s a CNN article that I, along with my Explore Dance editor, Robert Abrams, (among others) were interviewed for on how the dance shows on television have impacted the larger dance world, mainly ballroom.

I remember several years ago — maybe five now — sitting in another, much smaller theater on Broadway watching a Dance Times Square teacher / student showcase and nearly falling out of my chair during the all-pro part when my teacher, Pasha (Kovalev), and his partner, Anya (Garnis), danced a West Coast Swing-turned Jive to Tina Turner’s Proud Mary. They also danced a Samba and, if I remember correctly a Rumba and though I’d started lessons with him, it was the first time I saw him dance with her. It was one of those performances where you feel kind of sick afterward because you don’t have a DVD or any kind of recording and you fear you’ll never see dance like that again. I also remember thinking how they should really be on Broadway. I mean, real Broadway, like in a regular theater.

So this is, to make a massive understatement, Surreal!

Several of my friends from Dance Times Square and I went to the Longacre Theater tonight to see our friends made their Broadway debuts in Jason Gilkison’s Burn the Floor. Of course we had to go to the (insanely packed) stage door afterward.

Pasha’s about to give me a hug here I guess I repaid him by flashing my camera right in his face. Oh the endlessly annoying paparazzi…

How gorgeous is Anya?! Posing with my friend Steve and his wife, Ina.

They took over the roles of Maks Chmerkovskiy and Karina Smirnoff and of course they were radiant. I think they worked better with the show size-wise because of that small stage (which Maks was too large for — I love him, but he made it look all the more crowded up there).

If you didn’t read it, see my earlier review of the show here.

I think the dancers got used to the small floor; everything went much more smoothly. My favorite parts remain the extended Swing / Jive section that ends the first half and the two Rumbas in the second half (Peta Murgatroyd’s classic, dance-hall Rumba, and the more contemporary, sensual, half-dressed Rumba by the leads — although I noticed Pasha and Anya wore more clothes in that number than Maks & Karina did ). But … I also like the Tango- turned dual Paso Dobles in the second half. Okay, I like the whole second half (mainly devoted to Latin).

In my earlier review, I don’t think I mentioned Sasha Farber as one of the dancers who most stood out to me. He’s a character dancer, kind of like Craig Salstein, and he has a rather fun part early on during a Jive where he’s trying hard to get the girl and gets carted off, kicking madly, by two men. He’s lively, actorly, and can really move quite fast. And Murgatroyd, which I wrote about in the earlier review, captivated me again, with her long limbs and gorgeous balletic lines. I mean, I really liked everyone; it’s hard even to single people out.

Here is Peta Murgatroyd exiting the stage door, on a bike! Actually, almost all of the dancers were on them. Apparently the show’s producers or someone from the company had given them the bikes so they could get around town more easily. Peta was popular with autograph-seekers too.

Ooh, wonderful night. I miss them…

Oh and this seems to be making headlines.

The Walter Kerr Theater across the street from the Longacre is advertising the show as well. See the arrow in the sign on the right side of the street. It’s pointing across the street. It’s the first time a Broadway theater has ever advertised for another show!

Philip was really sweet and sent me some pictures taken by his friend, Kokyat, of the Morphoses / Martha Wainwright performance Saturday night in Central Park. Above are my three favorites from ABT and NYCB respectively: Marcelo Gomes, Gonzalo Garcia and Tiler Peck (seated). They’re dancing Christopher Wheeldon’s Fool’s Paradise.

It was a fun night. For people unfamiliar with Martha Wainwright’s music, she’s kind of a folksy, bluesy, country mix. So, the dances, mostly choreographed by Wheeldon, a couple by Edwaard Liang, complemented that with lots of wavy-armed, lyrical, softly jazzy, almost social-dance-like movement, with ruffly dresses for the women and open t-shirts, casual vests and buttoned Oxfords with ties for the men.

Here’s a photo by Andrea Mohin of the NYTimes, of Bleeding All Over You, chor by Liang and set to Wainwright’s song. Teresa Reichlen is in the middle, surrounded by Jason Fowler and Adrian Danchig-Waring of NYCB. See Mohin’s slide-show here.

Here’s another favorite of mine by Mohin from the NYTimes slide show, of Gonzalo Garcia and Tiler Peck in Love is a Stranger (set to Wainwright’s re-interpretation of the Annie Lennox hit). This was one of my favorite dances of the evening because, well I love both these two, and it kind of reminded me of when they danced Other Dances together at NYCB this season.

And my other favorite from that slide show, of Rory Hohenstein dancing a solo in Far Away, the first piece of the night.

I don’t know if it was Craig Salstein and the wine or the promise of seeing Marcelo in the second act or what, but everyone seemed to have an extra glow or something; everyone seemed to dance so much better than I’ve ever seen them before — particularly Hohenstein. He was really fluid, really beautiful in this dance.

See more photos in the Times slide show here. And read the accompanying review by Sir Alastair in which he gets just a bit caught up in the spelling of the word “Whither.” I don’t see that anyone has blogged about the review, but it’s certainly making its way around via email because of that paragraph. It’s like the critics are becoming part of the performance…

Anyway, Marcelo danced in the last two ballets — Wheeldon’s well-regarded Fool’s Paradise, and Tears of St. Lawrence (a new collaboration between Wheeldon and Liang). Paradise was set to recorded music by Jody Talbot (the only non-Wainwright music of the night) and Tears to Wainwright’s song of the same name.

Marcelo danced the opening pas de deux in Paradise with Tiler Peck and I feel like I saw things anew and like I was more connected to and moved by some of the twisted, unique, two-body shapes just by seeing a dancer I connect with in the part — his covering her ears, his bowing down to her in arabesque… No one could make the arabesques Marcelo was making, and there were several parts where he and another male dancer — at the beginning Gonzalo — would frame the women with those arabesques and Marcelo’s raised leg was always significantly higher. I always love Gonzalo, and it could just have been my seeing him next to Marcelo, but he didn’t seem as stretched-out Saturday night. His extensions weren’t as heavenly as they usually are. Actually, there was nothing in any of the ballets that really brought out the qualities that make Gonzalo Gonzalo. No Mercurial Manoeuvers, no Hallelujah Junction, no MNS Oberon, no Other Dances, no Concerto DSCH where he could fly all over stage and charm you to death. He doesn’t excel as well at the slower, pretzel-shape pas de deux-heavy dances. Well, it’s not that he doesn’t excel, it’s just that his personality doesn’t have the chance to shine. I want Wheeldon to choreograph something high-flying for him and put it in the Morphoses program

Back to Paradise: I have to say, upset as I was over not being able to see the dancers up close, I was able to see the patterns better from sitting back in the sky box. Wheeldon and Liang both came back there and stood beside us to get a view of the overall, so I guess Susan and I ended up in the kind of ideal Balanchinian viewing area. From there I really could better appreciate the patterns and the look of the whole.

For all the “whither wather” goofiness, one of Macaulay’s lines in the afore-linked-to review really resonated with me: “I like the control with which Mr. Wheeldon keeps making you pay attention, but I can’t get interested in these dances as thought or drama.” I think that’s what prevents me from getting entirely into a Wheeldon ballet (at least his ballets for Morphoses; some of his ballets for NYCB have been far more dramatic or expressionistic); I feel like I need to come away from a work of art with something other than just a beautiful image. I need more in order to keep thinking about the piece over and over again, which is the effect I want a work of art to have on me.

But I’ll keep trying with Wheeldon — I’m sure if I liked Mercurial Manoevers and the After the Rain pdd, other dances of his will eventually grow on me. Especially if he uses my favorite dancers more often

Here are some more Kokyat photos of Fool’s Paradise:

And here are some of Tears of St. Lawrence:

Cast taking a bow, with Wainwright and Wheeldon in center. Look how cute they are

As I said earlier, there was a lot of music and it almost felt like a music concert with some dance thrown in, but, like others have mentioned, I’m glad the program exposed Wainwright fans to dance. Toward the end, Wheeldon came up onstage and introduced the dancers the way Wainwright introduced her band. He called his dancers “his band” and jokingly noted this wasn’t often done in the dance world. At one point, he remarked to Wainwright that he thought she might dance some and she responded, “Oh … no … oh, I don’t know… I could lie down and let people do things to me?” Everyone laughed. “Maybe it could be you,” she tacked on. “Ah, I don’t think it would be me,” he said after a long pause. He seemed a bit embarrassed. It was cute.

Anyway, thank you again to Philip for letting me use some of Kokyat’s photos. Definitely visit Philip’s blog where he has several posts filled with more gorgeous photos. The photos begin with this post (keep clicking on previous posts titled “Starry Night” to see more).

For people who missed Good Morning America this morning, the DWTS season 9 cast has been announced. I think I know about five of the contestants. Most excited about model Kathy Ireland and actor Debi Mazer at this early point. Also, they’re including more dances: Lambada, Charleston, Bolero and Two-Step. So it appears the show is veering away a bit from competitive ballroom and into the social-dance sphere (social dances both past and present, both in and outside of the U.S.). Will be interested to see how it pans out…

The show premieres Monday, September 21, 8 p.m. ET, on ABC.

Above illustration of the Lambada taken from LoveLambada.

How funny. Craig Salstein had mentioned this to me last night and today Opera Chic posts about it.

Photo by Rosalie O’Connor, for ABT, of Craig Salstein acting as angel between a warring Ethan Stiefel (airborne) and Herman Cornejo (crouching) in Tharp’s Rabbit and Rogue.

So last night I went to Christopher Wheeldon’s Morphoses at Central Park’s SummerStage, who were performing to live music by Martha Wainwright. Of course I would have gone no matter, but hearing that my favorite, Marcelo Gomes, was guest-performing with the company, made it all the more urgent.

Anyway, Morphoses events are often very well-attended and there was a bit of a mix-up with my tickets — they’d issued me a guest, rather than press pass and so my friend and I got ousted from the section up front. I understand these things happen, especially with very popular dance companies and it wouldn’t have been a big deal if I could see well at long distances at night (and if I hadn’t helped others get in whose tickets weren’t mixed up….) But whatever, I could deal I thought, even though I felt like a total loser.

So, my friend and I walked to the back dejectedly. But, then, when we got all the way to the back, it ended up our tickets weren’t for the reserved risers but for the skybox, a tent-covered, elevated section that put us far above the standing crowd. And in that elevated section, sat (among others) ABT soloist and one of my favorite dancers, Craig Salstein! He was sitting next to a really cute dancer-looking guy who turned out to be Marcelo’s bf Then a waitress came by serving us free wine and I knew this was THE place to be, not down there on the ground with those earthlings! I still couldn’t see tremendously well, but I can always see Marcelo from wherever I am and I kind of felt better being with the ABT peeps anyway.

So my friend Susan and I ended up chatting with Craig and Marcelo’s friend throughout the show and they are the sweetest guys! Craig seemed so different than he is onstage! For people who don’t know him, he’s the type of dancer who always gets the bravura roles that require a big personality, and very good acting (not to mention dance) skills, like Mercutio in R&J and the bespectacled nerdy guy who can nevertheless dance up a storm in Taylor’s Company B, and the poor guy who gets girls tossed at him from every which way in Tharp’s Baker’s Dozen, etc. etc. So because he has such a way with comedy I expected him to be cracking jokes every five seconds and acting all clownish and all. But he wasn’t like that at all – -he was really serious and calm, albeit gregarious and easy to talk to. I told my friends, who I went out with afterward, the same and one said, “well, he can’t be Mercutio ALL the time; he’d go crazy.” True.

He’d just got back from vacation (in Italy, where he saw “Roberto Bolle and Friends” — hmmm, didn’t know there was a “Roberto Bolle and Friends”!), and was sporting a serious tan. We talked about ABT’s upcoming season at Avery Fisher Hall and Italy and his choreography and how much I liked it and how great Marcelo is and what I tweet about (you, tossing your mandolin into the wings instead of Jared Matthews’s hands during R&J I said; he seemed bemused) and other chit-chat. Fun fun fun to meet a favorite dancer and another favorite’s boyfriend

Okay, I’m running off to another Morphoses performance today and have to get going but will write about the actual show tonight or tomorrow morning. Obviously Marcelo was god, Martha Wainwright was good but to me it was too much about her — too much music, almost a music performance with some dancing thrown in — highlights were Edwaard Liang’s premiere and Wheeldon’s Fools’ Paradise (which I saw anew thanks to Marcelo), Tiler Peck, Gonzalo Garcia, a duet between Maria Kowroski and Jared Angle, Wendy Whelan, Rory Hohenstein, a funny joke by Wainwright about lying down and having people do things to her and Wheeldon’s somewhat embarrassed response, and did I mention Marcelo Gomes…

Okay, isn’t it apparent from this picture alone that David Hallberg is the best Apollo EVER?! And it’s only a rehearsal photo! Oooh, I really may have to go to Vail next year…

Photo taken from The Winger, where you should read Carla Korbes’s post on her experiences at Vail and performing the Balanchine classic with the great DH. She’s also got several more photos posted including some of D and Ashley Bouder.

Linda Celeste Sims and Matthew Rushing of Alvin Ailey perform the adagio pas de deux from Mauro Bigonzetti’s Festa Barocca at the Vail International Dance Festival.

Photo of Pilobolus’s Darkness and Light by Ruby Washington, taken from NYTimes.

In light of the recent downpour of Tulsa Ballet reviews, many of which critized the selection of dances artistic director Marcello Angelini chose to bring to NY, my friend Christopher Atamian writes a note on programming selection. Chris also talks about Pilobolus, who were recently at the Joyce and big shame on me for missing them (I was recovering from an insanely exciting ballet season — the best EVER in my NY lifetime– and hystericizing over putting the finishing touches on my novel, so please forgive me for failing to cover this most exciting troupe).

I think Chris makes good points about not only the selection of programs but the placement of dances within the programs. I think this is one thing that Judith Jamison of Alvin Ailey is genius at: that company always performs their choreographically richest, most upbeat piece at the end: either Ailey masterpiece Revelations, the versatile hip hop / modern / African combo Love Stories, or Tharp’s wild-ride, The Golden Section. And interestingly, now that I think about it, New York City Ballet usually puts their premieres in the middle of the program, ending with a Balanchine. I definitely think you’d want to put the less established pieces in the middle, and bookend them with the tried and true. I do wonder if we “cranky New Yorkers” in Apollinaire Scherr’s words would have received Tulsa’s program better had Hue’s piece been in the middle or the beginning and the Duato at the end.

Anyway, here is Chris Atamian:

It is presumably the role of the artistic director to choose the particular program or set of dances that a company will perform on any given night.  I don’t know if anyone else has noticed a rather curious phenomenon, but I have attended a few performances of late by some truly fine companies that would have benefited enormously from a more judicious dance selection.  There was of course the Tulsa Ballet’s amazing 1-2 MacMillan-Duato punch at the Joyce which was unfortunately followed by a much weaker This Is Your Life by Young Soon Hue.  Why not start with the Hue piece-if one must include it-and then work up to the Macmillan and Duato? The audience would then walk away with an even stronger impression of this wonderful company.

The week before, I attended all three Pilobolus programs, also at the Joyce.  Program One began with a fine martial arts/capoeira-inspired piece Redline choreographed by Jonathan Wolken.  This was followed by a stunning piece Darkness and Light developed in collaboration with the truly astounding puppeteer Basil Twist involving shadow play and a presentation of nothing less than the cosmos itself, whirring by at breakneck speed in front of a mesmerized audience.  Then after a short break, the company came back with the 1971 work Walklyndon, a cute, short piece which involves the company dancers walking back and forth across the stage and engaging in some wonderfully humorous gags and movement with elements of clowning, physical humor and even a touch of vaudeville perhaps. The members wear hilarious, lively costumes.

I compared the piece elsewhere to a jived up version of Romper Room and I meant that in the best way: it’s humorous and soulful and it gives the audience a good idea of the company’s history and evolution-how else will younger people ever see the early pieces of a company which has now thrived for close to forty years?  My beef is that it came as a complete anticlimax after the Basil Twist piece-you could literally feel the audience deflate: they were waiting for something stellar, fast-paced and acrobatic and instead were presented with a funny and somewhat tame amuse-gueule. (Of course a company that specializes in say baroque dance or a classical ballet company may have an easier time of things programming an evening of performances simply because they have a theoretically more restrained group of works to choose from than a contemporary company…) There are of course many ways to curate a night of performances: by similarity or contrast; by choreographer; by time or setting; by pace or style; etc) No one way is correct per se, one just wishes that the choices were sometimes more judicious or logical.  As with everything in a very difficult field, that is easier said than done and there is always something to be said for experimentation.  And of course this is just one critic’s opinion….others are free to disagree with me!

Photo by Christopher Jean-Richard, from the Joyce website.

Here is another take on Tulsa, written by my friend, the writer and critic, Christopher Atamian:

The Tulsa Ballet is a wonderful revelation, a group of exquisitely trained dancers with the ability to perform a wide variety of dances from different lexicons.  Indeed, it would be hard to pick two pieces more dissimilar than Kenneth MacMillan’s 1974 Elite Syncopations and Nacho Duato’s 1996 Por Vos Muero.

Macmillan’s fun and lively ballet was performed with evident brio by the Tulsa dancers. If you could survive going blind from Ian’s Spurling’s remarkably bright costumes (think Pucci meets the Electric Kool-Aid Acid Test) and overlook the fact that the stage sometimes looked too busy with too many dancers, then you were in for a real treat. The dancers performed the often eccentric arm movements and angled lifts, as well as the elements of mimicry and farce to perfection: the final group ensemble piece was bold and fast-paced. The “Bethena Waltz” pas-de-deux between Alfonso Martín and Karina Gonzalez  was particularly enjoyable as were sections with the lithe and elegant Kate Oderkirk. I don’t particularly like Joplin’s Ragtime, to which a large part of the ballet is set, so the fact that I enjoyed this piece was all the more to the Tulsa Ballet’s credit-there was something truly odd and exhilarating about the entire presentation.

Duato’s Por Vos Muero is sensuous and romantic whereas Elite Syncopations is more syncopated and humorous; the former is European in tone and musical selection while the latter is set to just about the most American music there is; MacMillan’s ballet is modern in atmosphere while Muero is medieval with elements of postmodern poetic recitation.  Again, the Tulsa dancers could have benefited from some more inspired costuming.  The women’s blue and brown dresses and bustles may have reflected historical Spanish fashion, but at times they also hindered our appreciation of the performers’ movement; the other contrasting semi-naked flesh-colored costumes seemed flimsy.  Por Vos Muero is set to exquisite 15^th and 16^th century Spanish music and illustrates a 16^th century poem by Garcilosa de Vega, an extended love ode to an unnamed woman read here by the Spanish actor and pop star Miguel Bosé. The movement in Por Vos Muero mixes elements of Spanish court dance with a contemporary idiom developed by Duato which includes two-footed jumps, circular gestures of arms and legs, and the use of masks in one scene. When the male dancers come out in capes swinging incense censers, the entire theater becomes a dreamlike dominion, an oil painting come exquisitely to life. The dancers all acquitted themselves beautifully. Alfonso Martín, Karina Gonzalez and Ricardo Graziano were particularly stunning. The former two are powerful dancers that ally strength, grace and speed.

The last verses of Por Vos Muero are a stirring avowal of the heart:

I confess to owing all that I have to you

For you I was born, for you I am alive

For you I have to die, and for you I die.

By the time the two Tulsa dancers rush to the back of the stage and pose against a black background some of the audience members are also ready to symbolically die from pleasure, if not love.

As an endnote, along with a few other critics I was also disappointed by the final work, Korean choreographer Young Soon Hue’s This Is Your Life.  The piece begins with a staging of the 50’s TV show of the same name. After briefly being introduced to the show’s characters, the audience is treated to small vignettes illustrating their lives-the yearnings of their hearts and minds.  The actual dancing is quite good and some of the choreography engaging, but the piece feels disjointed and bland; at other times it looks like a strange mixture of Hairspray, Grease and West Side Story, without the excitement of any of the three. And yes, the orange-haired ridiculously effeminate hairdresser does border on the offensive. In fact many of the characters come off as stereotypes-the Chinese boy who wanted to be an actor but whose parents forced him to go into business; the girl with the Casanova boyfriend who must also be a bit short on self-respect, etc… More puzzling though, why the artistic director chose this particular piece to follow on the (literal!) heels of such fine works by MacMillan and Duato.  But no matter-the evening was fun, well-danced and enjoyable.  We hope to see the Tulsa Ballet again at the Joyce next summer.

Breaking news! SLSG absolute favorite will perform with Christopher Wheeldon’s Morphoses this weekend on Central Park’s SummerStage. I blogged about the performances earlier today but this of course makes attendance ALL THE MORE COMPELLING. So to repeat: Friday and Saturday evenings, Rumsey Playfield (69th and 5th Ave.), 8 pm. But get there early; collaborator Martha Wainwright’s expected to bring a slew of fans with her, which, when combined with Wheeldon fans, are going to completely overflow the house, or field.

See Oberon for a review of today’s rehearsal.

Photo by Jade Young.

P.S.: who’s watching David Parsons’s Remember Me right now (8:15 p.m., as I’m writing) on channel 21? Coming across pretty well on TV.

Okay, regarding the earlier controversy as to whether Ms. Bouder was dancing all out during the rehearsal, here she is with David dancing for real at Vail, albeit from a different section of the pdd. Personally, I think she looks beautiful — gorgeous arms. And surprisingly, you don’t even really notice the height difference, which has to be pronounced (she regularly dances with Joaquin De Luz at NYCBallet and David is well over 6′).

If you’re in New York, don’t forget that David Parsons-choreographed rock opera, Remember Me, airs tonight at 7:30 on channel 21 (above photo from here).

Also upcoming in NYC, Morphoses takes Central Park’s SummerStage (photo above from that site) this Friday and Saturday nights at 8pm. Wheeldon’s company is performing a world premiere set to Martha Wainwright music (which I understand is to be performed by the songstress live) so this is a definite not-miss. The company also performs on Sunday at 4 pm at East River Park, where Wheeldon, according to New York magazine, is to give dance instruction to the audience.

Next Tuesday (8/18) begins the Broadway debuts of my friends (and So You Think You Can Dancers) Pasha Kovalev and Anya Garnis in Burn the Floor (!&*%^&@#$%!!!) — sorry for outburst, just a little excited for that one…

Next Thursday (8/20) Urban Bush Women (photo from here) perform at Damrosch Park as part of the Lincoln Center Out of Doors Festival.

And all of next week (8/17-23) is the Downtown Dance Festival in the Financial District, which showcases a variety of  small companies from both the U.S. and abroad every weekday during lunchtime in front of Chase Manhattan Plaza and all day Saturday and Sunday in Battery Park.

All events except for Burn the Floor are free.

Photo by Andrea Mohin from NY Times review.

Wow — exciting night Monday night when Tulsa Ballet, a small but well-regarded company founded by members of the legendary Ballet Russes and currently run by Naples-born Marcello Angelini, opened its Joyce season. The company, from Tulsa, Oklahoma, hasn’t performed in New York for 25 years and it was their first time in Manhattan. The governor and first lady of OK were there, along with the mayor of Tulsa, and other government officials. A Japanese TV station also covered the event (the troupe is very multi-national; many dancers are from Asian countries), and Oberon, our friend Susan, and I were interviewed by them outside during the first intermission. ABT dancer Arron Scott was interviewed outside as well, after the show. I desperately wanted to walk over there and listen in on what he was saying, but didn’t have the nerve…

Anyway, there were three dances on the program: Sir Kenneth MacMillan’s Elite Syncopations, Nacho Duato’s Por Vos Muero, and a newish dance from 2008 by Young Soon Hue called This is Your Life.

The dance that most captivated me was the first, MacMillan’s, which I guess isn’t surprising since he’s my favorite full-length story ballet choreographer. I hadn’t seen this shorter piece though. In terms of the movement, it’s typical MacMillan with the bravura leaps and turns and inventive partnering dominated by sweeping, crazy-hard-looking lifts. But I didn’t completely understand the character of the dance. It’s set to Scott Joplin and other American ragtime music but it’s performed by what appear to be commedia dell’arte characters, dressed in almost clownish costumes. See photo above.

See also this video, of an excerpt performed by the Royal Ballet, Darcey Bussell introducing it and then performing in one of the main duets. There wasn’t a band in the Tulsa version though — the music was recorded.

You get a sense from the video what the whole was like. The choreography is comical, complex and brilliant. And the Tulsa dancers did very well with it — particularly the acting. Definitely a very lively troupe. I got the sense that this would look very different performed by a company like ABT or the Royal on the large Met stage, but I thought the Tulsa dancers did a very good job with a very (despite the humor) difficult-looking ballet.

Next on was Duato’s Por Vos Muero (photos below by Christopher Jean-Richard).

I also really liked this piece. The movement was modern (no pointe shoes): grounded, sharp-lined and expansive. The music consisted of popular Catalonian tunes from the 15th and 16th centuries, with a poem read (in Spanish; Duato is Spanish and his company is based in Madrid) by Spanish music star Miguel Bose (at least he was a star,  in a heart-throbbish sort of way when I took Spanish in high school and college )  The dance began on a contemporary note, with dancers dressed in simple nude leotards, then took on a historical flavor, the dancers now in dark costumes evocative of the era of the music. The themes (I think) were love and death; it was overall spiritual and mainly dark, with a few lighter moments interspersed throughout, like the one above, when two men playfully slide a woman between them, and she ends up near the edge of the stage and smiles out to the audience, resting her elbows casually on the floor, her chin in her hands. The two men lift their legs, bent at the knee, as if framing her like a picture.

The third piece, This is Your Life, is named after the American TV show (which I never saw). I have to agree generally with Gia Kourlas on this one. The characters first address the audience, telling you their stories of woe, but they’re mostly caricatures, like the flamboyant gay hairdresser dressed in a woman’s wig, and the businessman who wants to break free of his parents’ expectations and become an actor. The dancing parts are set mostly to Astor Piazzolla’s rich Tango music and much of them are Tango-based, portions of them on pointe. Normally I’d be into a ballroom / ballet mix, but the movement here, the combinations, were nothing I hadn’t seen before, and, honestly, I had a hard time getting over the stereotyped characters. This is a dance that may well get a different reception elsewhere though.

Tulsa Ballet performs at the Joyce through August 15th. Go here for more info. And go here and here for other, very different perspectives on the program.

Photo by Joan Marcus, from NYPost.

So this is your last week to see Dancing With the Stars stars Maksim Chmerkovskiy and Karina Smirnoff perform in Jason Gilkison’s Broadway ballroom extravaganza, Burn the Floor.

The show’s really good. It gets off to a bit of a slow start (and I saw it when it was still in previews so maybe now they’ve even worked out those few early kinks), but mid-way through the first act I knew I wasn’t going to want it to end. There’s no through story-line (thankfully — I haven’t yet seen a ballroom show with one that really works); rather it’s a set of Latin and Standard dance routines, some performed with ensemble, some in duos and trios. There’s more Latin than Standard, owing to the small size of the floor.

I never thought until I saw this production how hard it can be to put a dance show on a stage meant for plays. It’s so hard for the poor dancers to really get around and move freely, and that’s my one real problem with the show. They’ve got a band with two huge sets of drums that takes up the entire back half of the stage, which they don’t even really need because much of the music is recorded; the only live players are a couple of drummers and a violinist (along with some singers, who of course don’t stand in one place). In my opinion, if the theater has no orchestra pit, then they should have erected a stage above the floor for the band, like in Twyla Tharp’s Movin’ Out.

Anyway, that aside, they still manage to get a couple Viennese Waltzes and Foxtrots and Quicksteps in there. I do think the Cha Chas and Rumbas and Jives work best though. My favorite part of the first act is the extended Swing section, titled “Things That Swing.” Extremely fast-footed, with lightning fast flicks of the feet and difficult-looking, detailed footwork, the dancers really excel in Jive. I remember from the video too, years old now and with an entirely different set of dancers and choreography – thinking how I liked the Jive the best. Maybe Jive and Swing are simply most entertaining, the Big Band music of the thirties and the fifties so upbeat and recognizable and sentimental, maybe with their flair and tempo their power is the most translatable to the stage and screen, or maybe Gilkison (who’s an former ballroom champ and has choreographed for SYTYCD) just excels at choreographing those dances. But for whatever reason, they always stand out to me as the most entertaining in his shows.

Maks and Karina dance throughout, but they have a gorgeous Rumba duet in the second act that is really one of the high points of the show. They’re both barefoot and he’s shirtless and she’s dressed in a bra and underwear with open shirt and it’s really passionate and sensual. But also, Karina is one of the greatest Latin dancers in the world right now (she and her former partner Slavik Kryklyvyy were U.S. national champs and ranked second in the world the last time they competed together) and because the dance is so slow and she’s wearing so little you can really see the subtle movements she makes in her hips and pelvis and torso. A simple, basic hip twist she did was breathtaking. It’s really worth going just to see her.

And to see Maks as well!  The man is a total hoot, actually. He and his former partner, Elena Grinenko (who’s also been on DWTS) were ranked very high the last time they competed together as well, but more than just a technically good dancer, he’s just a lot of fun to watch – kind of in the same way someone like Vaidotas Skimelis is, or in the ballet world, Marcelo Gomes. He’s a huge man and he just eats up the stage (especially this one) with his body alone, but he’s got so much personality and character and charm. Even just watching him interact with Karina and watching him concentrate — you can see it on his face, in his eyes! You can see how much he’s trying to be a good partner and make her look good and it’s just so incredibly endearing!! I honestly fell in love with his dancer persona like never before watching this show.

Seeing him also reminded of my friend, Sharon. He was one of her favorites on DWTS. I think I will always think of her whenever I see one of these dancers.

The other real standout in the show was Peta Murgatroyd. Well, there were several dancers I really liked — Kevin Clifton, Gordana Grandosek, Giselle Peacock — but Murgatroyd stood out because I could tell right away she had a great deal of ballet training and that, along with her height and long limbs and flexibility just gave her really gorgeous lines. She kept doing these mouthwatering arabesques.

Murgatroyd’s the blonde woman in the middle in this photo by Sara Krulwich, from the NYTimes.

The whole time I couldn’t help comparing the show to those put on by Tony Meredith and Melanie LaPatin (who are my friends). Theirs are much smaller in scope, showing for only one night and mainly highlighting their studio’s (Dance Times Square) students, along with the pro dances who currently teach or have taught at the studio. Lately, they’ve been branching out and getting some of the stars from So You Think You Can Dance (which of course they choreograph for) to perform. But to me the most intense numbers that just make me nearly fall out of my seat are by Pasha & Anya (Kovalev and Garnis, also my friends), and top U.S. Latin pair Eugene Katsevman and Maria Manusova. I kept wondering what Burn the Floor would look like with one of those couples.

So I was just a bit ecstatic to find out the the former are to take over the Maks & Karina roles beginning August 18th I simply CAN’T WAIT!!!

is available for pre-order on Amazon. Good lord, look at those tag categories down below…

Our David Hallberg (with flying blonde mane and miraculous feet!) rehearses the Black Swan pas de deux with Ashley Bouder, which they’re currently performing at the Vail International Dance Festival. Great Paloma Herrera-esque fouettes, Ms. Bouder (with the multiple pirouettes thrown in; I haven’t really seen the NYCBallet ballerina in a dramatic part yet; she and David look good together!)

Bouder’s also performing Balanchine’s Who Cares with SLSG favorite Robert Fairchild, and David’s dancing Apollo with Pacific Northwest’s Carla Korbes. So wish I could be there…

If you’re in New York and you missed it last winter, Bertrand Normand’s 2006 documentary, Ballerina, will show at the Walter Reade again on Monday, August 31 at 1:30 p.m. The doc follows five Kirov ballerinas — Alina Somova, Svetlana Zakharova, Ulyana Lopatkina, Evgenia Obraztsova, and our Diana Vishneva (above in photo from ABT website).

If you don’t live in New York (or are one of the lucky who have a job and can’t make the daytime showing), it’s apparently now out on DVD as well (the trailer is here).

Also at the Walter Reade this month, as part of a Natalie Wood retrospective, is Robert Wise and Jerome Robbins’ 1961 film West Side Story. It shows on August 19 at 6:15 p.m., August 21 at 8:50 p.m., and August 23 at 1:00 p.m. Eliot Feld will introduce the August 23rd showing. Go here for more info.

UPDATE: The August 31st screening of Ballerina has been cancelled; the new screening time for that film is Thursday, September 3rd at 9:00 p.m.

Via Design Scene.

Photos by Mario Testino, from Ferragamo website.

Looks like one of the better dance films of late. In cinemas this October.