Tag: American Ballet Theater

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Dance in America’s Great Outdoors Special on PBS Monday Night

Tomorrow night (Monday, April 21), PBS is airing a dance special honoring America’s national parks. Several choreographers made site-specific dances which were performed in various outdoors national monuments including: Yosemite National Park; the U.S. Virgin Islands; the Coral Reef National Monument off the coast of St. John Island; Kitty Hawk, North Carolina, from which the Wright Brothers first took flight; Mammoth Cave; and Hawaii’s Volcanic national park.

I was fortunate enough to be given an advance preview. My favorite parts were the U.S. Synchronized Swimming Team performing underwater amidst the beautiful corals and exotic sea life of the Virgin Islands, the dancers often looking like tantalizing sea creatures themselves; members of Donald Byrd‘s troupe performing dances evoking freedom and slavery set first on Cinnamon Bay, Virgin Islands, then in ruins of an old Sugar Plantation on St. John’s Island. I also liked the very end, Doug Varone‘s troupe dancing to folk music in the Mammoth Caves. Varone uses film and video in his productions as well, to good effect. I also loved seeing the footage of the Hawaiian volcanic beaches — breathtaking. And Project Bandaloop (whose dancers perform airborne activities, often while climbing large mountainous rocks), whom I know other bloggers like, is included as well.

Overall, I felt this program, which is 90 minutes long, gets bogged down in too much discussion of process – the choreographers trying to figure out what they want to evoke, how best of evoke it, instructing the dancers on the same, the dancers telling us how best they feel they can draw something out, how difficult it can be to do so — it’s too much, and it gets boring and ruins the magic of the performance. Anyway, it’s worth watching for everything I mentioned above even if it gets tedious at points. And since it’s not on until 10:00 (ET), it won’t interfere with Dancing With the Stars 🙂

Check here for local listings.

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Intriguing Capoeria From Dance Brazil

 

I’m very behind on my blogging, but I just wanted to post a bit about an intriguing group I saw last week at Symphony Space, Dance Brazil. The dance troupe, based in the Bahian region of Brazil and directed by Jelon Vieira, performed a medley of modern dance with Brazilian-based movement, Samba (which made me happy), and a dance form that I, shamefully, haven’t seen much of before: Capoeria.

Capoeria is an Afro-Brazilian dance that grew out of slavery; the movement was originally a means of self-defense for slaves against their oppressors, and involved athletic, martial arts-type feats. Over time, it became more stylized and evolved into an art form.

It actually looked to me to be a balletic form of martial arts. Dancers would pretend-kick, lash out at, and jump over each other, but in a very stylized way. And because the athleticism was so functional, so meaningful, it didn’t take over or negate the artistic. For example, there were a lot of barrel turns (but with bent knees and flexed feet), but unlike in ballet, where such wondrous mid-air-turning leaps would be considered tricks whose main purpose is to wow audiences, here it was more like an arty means of trickery: one man would come at the other as if to “capture” him, and the first would make him think he was going to succeed, then, at the last minute, do a flying leap over the guy. It was just brilliant. Definitely made me want to see more.

Unfortunately, it appears that they are no longer at Symphony Space, but if you ever have the chance to see this group, I highly recommend them. And read more about capoeria here, here, and here; also here’s a video of another Brazilian group performing the dance, and here’s a fun video of breakdancers competing with capoeria artists.

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Grupo Corpo at BAM

Friday night I was finally able to see the Brazilian dance troupe, Grupo Corpo, live. I’ve seen videos, and have heard so much about them, through Brazilian friends. So, I’ve been wanting to see them for a while, and I was very happy when they finally came to Brooklyn.

Founded in 1975, the troupe, from the Brazilian province of Belo Horizonte, combines ballet with different forms of Brazilian dance and cultural influences — African, Latin, Native American, Portuguese etc. I saw two pieces, “Benguele” and “Breu”, both choreographed by resident choreographer and co-founder, Rodrigo Pederneiras.

I liked the first, “Benguele” best. I saw it as a celebration of the cultural stew that is contemporary Brazil, melding a variety of movement — West African, Samba, capoeira, Portuguese folk, and even jazz — and a variety of sound, from folksy acoustic guitars to orchestral strings, to, my favorite, pulsating African drums. The running theme was a person trying to make his or her way across the stage, or a people trying to find their home, perhaps the result of a diaspora. The dancers moved back and forth and back and forth across stage with a variety of movement. The most common “walk” was the body bent way over at the waist, the arms hanging down, the hands almost touching the floor, almost dragging along it. But the lower body moved to the beats, which gave the walk a definite style and rhythm. So, although the person looked tired and world-weary, bent over from old age or a life of intense, perhaps slave labor, he continued on, like nothing was going to stop him from finding his destination.

At other times, people would move across the stage sideways, knees deeply bent, in a deep lunge. They were very animalistic, looking at times like crabs, at times like insects, and at times like jaguars or panthers. Sometimes, dancers would suddenly dart up from these crouched positions, legs kicking out, like a martial artist fighting his way out of a bad situation but with style and grace, intellect, and artistry — the super-charged, acrobatic capoeira. Some would nearly fly across stage in a quick jazzy skip. Some would slither in loose, pelvic rotating forward samba walks, or side-stepping samba voltas.

There’s nothing more fun, by the way, than recognizing a move! I see now why ballet is so popular amongst people with ballet training. It’s really interesting to see others do a step you’ve struggled with yourself, or to see a choreographer’s unique take on that step.

At times two people would dance together, trotting across the stage happily in a waltzy, swingy pas de deux, illustrating the position social dance has held in Brazilian culture.

At the end, all movement seemed to meld together, like it was blended into one continuous rhythm. The backdrop became a series of vertical stripes, each color represented, and each dancer wore different-colored sashes criss-crossed over his or her torso, a rainbow medley.

The second piece, “Breu,” I liked less than “Benguele,” but it was still good. In this piece, all dancers were dressed in zebra-striped or almost blindingly checkered costumes that at times looked imprisoning like a straight-jacket, at times intriguingly geometric like a compelling architectural model. This piece was much more obviously violent than the first, as dancers thrashed against each other, threw themselves down to the ground, kicked and pushed each other.

 

At other times, they would refrain from going at each other, to lie down or stand in a row, making various visual shapes with their geometric-patterned bodies. But the movements in line or on the ground would still be fraught with intense emotion. And soon the thrashing pas de deux would return. The Playbill notes that this work was intended to “evoke the dark times in which we live” and to show “the violence and brutality encountered in daily life.” I definitely saw those, but didn’t think it really progressed; it seemed too one note to me.

Another thing I noticed is that most of the members seemed to be white, though there were a couple of black male dancers. I’ve never been to Brazil (yet!) but thought it was a very mixed race society. My friend, Alyssa, and I had noticed the same of Mimulus, when we saw them at Jacob’s Pillow over the summer. Not a criticism or anything; just something I found curious. It’s the same here, of course, with most of the large professional dance companies, especially the ones specializing in ballet. I just wonder if the underlying reasons for that are the same.

Anyway, I really enjoyed Grupo Corpo, especially the wonderful Benguele, and will definitely look forward to more by them!

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"The Hip Action Was Like Replacement Hip Action"

Bruno is such a goof. (He said this to Penn Teller). I sometimes think he plans out his lines before the show...

I loved the opening number — loved that they introduced all the pro dancers up front and let them shine. I love that Louis van Amstel danced with Karina Smirnoff 🙂 my two favorites…

How much did Priscilla Presley seem like she didn’t want to be there during intros?!

I thought Penn was cute. He’s an enormous man and the choreography Kym gave him actually worked for him. Her opening splits, where he took her leg up, was a good idea for a tall guy — it elongated her and kind of brought him to her level, and I love how he darted through her legs right after that. With that huge body, he looked like a whale! And the ending, with the flowers he magically pulled out from his sleeve and presented to her — adorable. He jumps too much though — his biggest problem, hopping around to make up for lack of rhythm and speed — common among beginning men. She just needs to teach him that hips produce the rhythm not bopping up and down.

Okay, I just completely fell for Jason. Oh my, oh my! — he is so dapper, so gentlemanly, so smooth, such the consummate ballroom man! Awesome posture — I think that water bottle on the head during practice helped. And so graceful, and for a sports guy??? What was all that crap about not wanting to be girly? My pet peeve. But it seemed only for show, especially with the tutu thing. Funny though how American men think Latin is girly, because he was doing Cha Cha during practice when he said that he was now going to have a rep in the locker room. But then they have no problem with Standard — like they think Standard is more manly than macho Latin. Well, Standard is closer to ballet, so I guess ballet is manly by the same logic 😀 My biggest problem with him is his feet — he did the pigeon-toed thing a couple of times, particularly on a stretch where his back foot was lunged out and it was very noticeable. Edyta should get him to stop it! Another pet peeve…

Okay, now Cristian has stolen my heart as well… Whoa did Cheryl trust him — she threw herself right into his arms! I don’t know what Bruno and Len were on about regarding his shoulders though, it was his feet that bothered me; he wasn’t as pidgeon-toed as Jason, but sometimes on those New Yorkers (cross overs) the back foot was not turned out. I’m sorry, am I ridiculous? It’s just a huge pet peeve, and a common mistake beginning men make. Maybe it’s my ballet background… Anyway, I think Cristian is a lot of fun and I love his complaint that he’s Chilean (known for food and wine) and not Brazilian (dance country), so even though he’s Latino, he’s not so great on his feet — an embarrassment since everyone on his white TV show (Ugly Betty — totally didn’t recognize him from that!!) expects him, as a Latin, to be a natural dancer. Hence his reason for being on the show — to be what he should already be.

Oh so cute that they had Helio on saying how he felt about Julianne Hough’s “being with another man”! I know many people don’t like his politics (which I don’t know about since I never watch syndicated shows), but Adam seemed endearingly self-effacing. He said DWTS seemed pretty humiliating, so thought it was something he should try. Also moaned, “I felt horrible for the kid, ruining her perfect record.” Aw. Cute foxtrot. He was pretty good, except those pidgeon toes happened again, and his butt was sticking out at one point, losing that martini glass pelvis-connecting shape with Julianne so important in Standard. Bruno said he was not Fred Astaire, but Will Ferrell?… I didn’t think he was comical at all. All the judges are being pretty harsh actually. I thought he was pretty good, for it being his first try. His footwork was flawless, which for foxtrot is hard; he didn’t seem to miss a step. And that battemant kick was bent-kneed, but I was surprised at how high up it went. He did look stiff, but who can blame someone’s opening-night nerves?

Okay how smooth is Mario? He said one of the reasons he wanted to do the show was to meet Karina 😀 Methinks he is the next Sabrina though — he has a lot of dance background with that R&B and hip hop. I don’t care if it’s not ballroom; dance is dance. I still love him though. For the first time ever while Karina was on the floor, I watched someone other than Karina! The judges are being nice, with the exception of Len, who pointed out some heel leads that I’d missed — that you never do in Latin. That’s the annoying thing with the judges — they act like dance background is irrelevant. He’s got the highest score so far. Youth is also a big factor in learning to dance well fast. He had some pidgeon toes too though… I think what it is is the Latin shoes with the 3/4 inch Cuban heels. Those heels, short as they are, make a non-turned-out foot look just awful. But with his groove, his natural hip action, it was almost non-noticeable.

Eeee — I love that Anna Trebunskaya took Steven Guttenberg to the Vegas Classic — a real, live, authentic competition — on this show! I even saw some familiar faces — Lucas! I liked their routine; it was cute. I felt like there was a story there though, but I couldn’t figure out what exactly it was. They were playfighting and making up, and flirting with the judges, but it didn’t really all come together as a narrative to me. Still, he was very charismatic, and how excellent was that jump and kick! Carrie Anne’s right — he’s a real charmer. And Len’s right that he enjoyed himself and his smile was infectious. He’s the performer of the group — this season’s Marie Osmond (except a better dancer :)). Sweetly self-deprecating too.

(By the way, did anyone see that movie, “Kissing Jessica Stein”? — has nothing to do with this show, but there’s a line in the beginning of that film, spoken by one of the dweeby guys Jessica goes on a blind date with. Trying to dazzle her with his wit, he tells her he’s “humorously self-defecating.” I couldn’t stop laughing, and now, everytime I go to say self-deprecating, I have a frightening tendency to say defecating.)

Anyway, I like all the guys. Every single one of them. And I have about four favorites. Now what? The women ensure us they’re superior to the men. Marlee Matlin said it’s not about her deafness but her great hips. Then why, of course, did she bring the former up in the first place?? Marissa Winokur got a lot of cheers. Good for her — I’m really excited to see her. And I love Kristi Yamaguchi!

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Sascha Radetsky in Newsweek

Sascha Radetsky is the author of this week’s My Turn column in Newsweek. In it he makes the case for male ballet dancers, or, rather rails against the male-dancer-bashers. Thanks to Danciti for finding it. I wish I could say it’s passe given all the male dancers on TV these days, but can I? I definitely think “Dancing With the Stars” and “So You Think You Can Dance” have significantly decreased the stigma against male dancers in general, and I feel like that has to affect the world of ballet. Danny Tidwell may have somewhat downplayed his ballet background on SYTYCD, but has anyone watched Lifetime’s new show, “Your Mama Don’t Dance”? Last Friday showcased the male contestants dancing with their mothers. All of them (the male dancers that is) had ballet background, and they proudly announced this, thanking their mums for taking them to classes when they were little, encouraging them, etc. Host Ian Ziering, who’d complained of looking “girly” when learning Latin on DWTS, went nuts over the first guy to dance — Jonathan Silver — whose ballet training in his “contemporary” number was obvious. No one talked one iota about stigmas they faced when they chose a life of dance, then or now. That’s gotta say something…

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More on Nina Ananiashvili and The State Ballet of Georgia

My crazy life of late has made me late in posting this, but last weekend I went to BAM to see Nina Ananiashvili, a principal ballerina with both the Bolshoi and American Ballet Theater, dance with her newish company, The State Ballet of Georgia, whose artistic directorship she took over in 2004.

The program I saw consisted of four ballets: Balanchine’s “Duo Concertante,” Yuri Possokhov’s “Sagalobeli,” and two by talk-of-the-town Russian choreographer Alexei Ratmansky — “Bizet Variations” and “Dreams About Japan.”

I loved the company’s rendition of “Duo Concertante.” The dancers (in above photo by Jack Vartoogian), were Nino Ogua and Lasha Khozashvili and they danced it with more clarity of intent than I think I’ve seen before. Though it’s a non-story ballet, as are many of Balanchine’s, that doesn’t mean there was no room for interpretation, emotion, drama, and conflict. The dancers interacted with each other — by turns playful, romantic, aggressive, even somewhat violent, and loving, as Ogua would glide Khozashvili across the stage, she’d smile at him flirtatiously, she’d turn and run from him and he’d catch her and sweep her up, she’d place her head sweetly on his shoulder. After they finished a section, they would walk to the musicians — an onstage pianist and violinist, look at them quizzically, and as soon as the music gave them the cue, they would walk back to centerstage, regard each other, and begin dancing again. It was very “dramatic,” in the sense that the dancers were not merely performing steps without expression, like I’ve seen Balachine choreography performed, but they interacted with one another, with the musicians, and with the audience, drawing you in and making you a part of it.

Next was Ratmansky’s “Bizet Variations.” I wasn’t really in love with this one. It was sweet, with the women fluttering around in beautiful blue dresses, Nina as the lead in a purplish hue, and the men romancing them. I thought it was pretty but nothing really substantial.

My favorites were Possokhov’s “Sagalobeli” a beautiful combination of ballet with Georgian folk dance set to bewitching Georgian folk music, and Ratmansky’s “Dreams About Japan,” a stunning melding of classical ballet with Japanese dance, set to mesmerizing, at times frightening, Japanese percussion. Bands in both were, splendidly, live.

In “Sagalobeli,” the women all wore lovely, flowing beige dresses with snaky patterns on the bodice, and the men kind of Gladiator-style vests with tights and boots. Possokhov, a Russian choreographer who works mainly with San Francisco Ballet, brilliantly combined classical ballet with intriguing folk movement that at times resembled Flamenco, with couples energetically tapping the floor in a kind of conversation with each other, and at times, when women danced alone, a kind of belly dancing. The men-only parts consisted of Russian-looking deep-knee-bent folk dance kicks combined with the male bravura elements of classical ballet — whipping foette turns and giant soaring leaps. It was lovely and the music, a Tbilisi urban folklore performed by the Sagalobeli Ensemble, was just a dream. I didn’t want it to end.

 

And the Ratmansky — ah, this is the best thing I’ve ever seen by him. I actually liked it. I actually see what critics are going on about now! Though I have a feeling just from what I overheard in the theater that this is the critics’ least favorite of his… Anyway, structured like traditional Kabuki Theater (in which only the most popular dance fragments from various classical plays are presented), Ratmansky used percussion music performed by the Tbilisi Theater of Opera and Ballet and a combination of Japanese traditional dance with ballet to tell four short stories: “Sagi Musume,” in which a young girl mourns her lost love; “Futa Omote,” where the souls of lovers who’ve committed suicide reunite in one evil spirit; “Musume Dojoji,” in which a young monk fails to return the love of a maiden, who tranforms herself into a Fire Snake and avenges him; and “Kagami Jishi,” where a lion’s mask forces anyone who comes into contact with it to dance to exhaustion. Not only are classical ballet steps performed with a Japanese flair — turned out palms, flexed feet, expressive wrists, etc., but somehow because of the beating of the drums, because of the props, but also because of the way in which they are performed — with speed, with sharpness and a rhythm corresponding to the drums rather than the fluidity and mellifluousness of Western classical music — barrel turns, fouettes, pirouettes — traditional ballet language somehow became brilliantly transformed. It was neither ballet nor traditional Japanese dance, but somehow both; and both were enriched by the combination, rather than being oversimplified and belittled, like Asian dance often is when interpreted by a Westerner. It was really stunning, and I hope this is not the last we’ll see of this ballet.

Anyway, for more on Ananiashvili and the company, go here.

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Disturbing Email From Obama Campaign

I just received this in my inbox. The subject line was titled, “Good Spam.” It’s from Obama’s Campaign site. Apparently when you contribute you can send this email around to all your friends. I find the language used seriously disturbing. I know the person who sent this to me and he doesn’t speak like this — this is a form mail written by Obama’s people. He’s attacking Clinton for exercizing her right to continue her campaign. Clinton has won many primaries and obviously has a great number of supporters. The way this is written, it’s as if he believes he’s entitled to the nomination and considers her a problem that needs to be taken care of. She has a right to continue her presidential bid and we supporters have a right to have our candidate continue to run. Has he no concept of rights? And “desperate” — after last night??? I’m sorry but I will never vote for him for tactics like this. I’d rather vote for the senator from my old state of AZ if it has to come down to that.

Here’s the email:
Hey,

I don’t usually send these emails, but I just made a donation to Barack Obama’s campaign and I want to invite you to join me:

Join me and make a donation now:

https://donate.barackobama.com/twofront

It’s clear that Senator Clinton wants to continue an increasingly desperate, increasingly negative — and increasingly expensive — campaign to tear us down.

That’s her decision. But it’s not stopping John McCain from going on the offensive.

Right now, it’s essential for every single supporter of Barack Obama to step up and help fight this two-front battle. In the face of attacks from Hillary Clinton and John McCain, we need to be ready to take them on.

Join me in supporting the campaign by making a donation now:

https://donate.barackobama.com/twofront

Thanks

———
A user has sent this message from BarackObama.com. The sender’s name, email address, subject and message have not been verified.

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Misc

Hello. Sorry no post on the Sean Bell shooting trial last night; I was busy getting some dance reviews done and up. Did anyone see Lifetime TV’s new show on Friday night? I thought it was sweet and good-intentioned but a little phony in places. Anyway, my post of that will hopefully be up today on Huffington. Here’s my Explore Dance review of Diana Vishneva’s “Beauty in Motion.”

Yesterday was a big day for trial testimony. We heard from two emergency services personnel who responded to the scene as well as a videographer who shot some video clips, some of which we saw, including upsetting footage of Trent Bennefield being put on a stretcher and taken to hospital, and we heard the first part of Undercover Officer Sanchez’s account of that night. He was called by the People but so far seems only to have given testimony favorable to the defense. We’ll hear the rest of that today. More tonight…

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Movmnt Magazine Dance Blogger Party

 

Sorry I’m so late in getting this up! Last Monday evening, David Benaym, Editor-In-Chief and co-founder (with Danny Tidwell) of Movmnt Magazine hosted a dance blogger party at his office’s downtown NY headquarters. From left to right in picture above: Tony Schultz from The Winger, Doug Fox from Great Dance, Dea Soares Berrios, a friend of mine and The Winger’s, from Brazil who writes the personal blog Dea Nos Eua about her experiences moving to the U.S., her husband Al Berrios behind her, Taylor Gordon from The Winger and Off Center, me, Evan from Dancing Perfectly Free, David Benaym, and Brian Gibbs from The Winger.

It was a great time! David (pronounced Du-VEED) is extremely animated, and being from France, has a serious accent. People were having all kinds of funny mis-understandings 😀 We had some good discussions about dance and the internet, which companies are the best at using it (NYCBallet and Alvin Ailey, both of whom have YouTube channels), which are the worst (unfortunately my favorite American Ballet Theater was the sad winner in that category), which issues people are afraid to discuss in the blogosphere (dancer eating disorders being a big one), how most bloggers’ personas are so different from the writer’s actual personality (as well as pictures; we all agreed Schultz’s Winger headshot looks nothing like him!), and how we keep in touch with each other on a daily basis through our blogs though we’ve rarely met in person: at one point, David remarked how worried he was about Jolene. We asked why and he said, “Did you see? She said she would not come because she was very very sick and would soon go to hospital.” “Nooooo,” we all — and I mean all — sang out in unison, “that’s Ariel!” (who’s better now, by the way). Then he said, “Ohhh, well then who is Jolene?” Again, we all said in unison, “she’s the one who lives in San Francisco…” — I find it sweet that we all keep up with each other so well via our blogs; we really are a tight community. And finally, we talked about whether bloggers (particularly the snarky ones 🙂 ) should be anonymous (we’re all dying, for example, to know who Danciti is, though some thought anonymity was fine). I know I’m forgetting tons of stuff; we decided through Al’s suggestion, that the next time, we would take minutes or record.

 

At the end, David gave us little gift bags containing issues of the latest magazine as well as a few back copies, a pair of Movmnt socks (hehe, like they give you on VirginAtlantic for overseas flights), and a copy of his and Danny’s book, “Moving Still.” Since I helped to organize the event, I received a special copy, containing all of the featured dancers’ — including Tidwell’s — autographs 🙂 Even though I don’t agree with David about everything (for example, he thought about 10 posts a week on The Winger was good, otherwise it’s too overwhelming; I think, seriously, the more posts per day the better — my ideal number would be a Gawker-sized 30+ per weekday, although I realize this is never going to happen without a salaried, full-time blogger staff; there needs to be a Nick Denton of dance…) but I have a great deal of admiration for someone who has such an entrepreneurial spirit, who’s such a risk-taker and doesn’t think twice about creating his own path. He not only started his own magazine and wrote two books — his own novel (only available in French) as well as “Moving Still,” but he founded his own publishing companies to produce all of these things.

If you’re near a Barnes & Noble that carries it (one thing I learned from David is that you have to pay a bookstore shitloads of money just to carry your mag, even though they get a big profit from sales anyway?..), the latest issue is available. It includes an article by Taylor about dancer injuries, and two profiles from dancer Matt Murphy on composer Nico Muhly and “Center Stage 2” star Kenny Wormald, amongst other good things of course! Or you can visit their website.

Also, if you’re a dance blogger and near NYC and you want to be included on our email list, send me an email (found on my contact page). I don’t always organize these things but I seem to be the current “maintainer of email addresses.”

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Diana Vishneva's "Beauty in Motion" at City Center

I’m writing a review of this for Explore Dance, so will make this short; I wanted to post something quickly since it’s only showing tonight and tomorrow (Sunday) matinee.

It’s funny to me that dance-makers and fans always complain that critics are destroying dance with their negative reviews. I think they often do the opposite, creating loads of hype, sometimes deserved, sometimes not. And you don’t know which it is until you’ve seen the program. In this case, I’d say the program is worth seeing, but not for the reasons the critics say. The highlight to me was the brilliant brilliant Desmond Richardson of Complexions Contemporary Ballet, in the third ballet of the night, “Three Point Turn,” Dwight Rhoden’s exciting piece about the turbulence of male / female relationships. Richardson had two breathtaking solos that brought the crowd, rightly, to its feet. For a ballet-trained dancer he excels at the sharp, angular, staccato movements that are the hallmark of modern. He’s really a marvel.

I also enjoyed in that last piece Kirov danseur Mikhail Lobukhin. He’s a muscular man with a longish blonde mane and highly arched feet that, when he points, enable him to make beautiful lines. He has kind of an androgynous appeal, which works well for this piece in which masculine violent passion and feminine romantic love are often evoked simultaneously.

In the first ballet of the evening, Alexei Ratmansky’s “Pierrot Lunaire,” which aims to put to dance a set of Fifteenth-Century European poems about a clown’s descent into madness and back again, and in which the clown is depicted alternately by four dancers (all from the Kirov), Alexander Sergeev was my favorite. He interpreted his clown’s changing happiness, sadness, sexual fervor, and madness with the most pathos, and I couldn’t take my eyes off of him.

The show is meant to celebrate Diana Vishneva, the Russian ballerina who is currently a principal with American Ballet Theater as well as the Kirov Ballet, or Mariinsky Theater, in St. Petersburg. The middle piece, by Moses Pendleton, the modern, not ballet, choreographer who founded theatrical dance companies, Pilobolus and MOMIX, is the one that most celebrates Vishneva, because it allows her to have the stage entirely to herself. I don’t think she works tremendously well with others (which I’ve noted before), and I have yet to see what all the critics are so orgasmic about with her, but Pendleton gave her some brilliant props to work with — particularly a large mirror upon which she lay in various positions, she and her reflection together evoking a series of imaginative shapes, and a beaded headdress which she wore and spun around repeatedly in, making interesting forms with the material — and the result seemed to be the crowd-pleaser of the night (other than Richardson).

At the end of the last piece, the curtain went down, then rose again. All dancers besides Vishneva were onstage. The dancers linked hands and came forward for a group bow. Then, each came forward one at a time — five in all — then another group bow. The dancers began looking at each other, a bit concerned. The conductor — shaggy-haired and good-looking I might add! — came onstage and took a bow. The dancers took another group bow. The singer came onstage and took a bow. The audience applauded on and on, for a good ten minutes. The dancers looked at each other, more worried. Audience members began to shrug their shoulders. “Is she coming out?” someone whispered. A few began to leave. One dancer, I think it was innocent-faced Sergeev, gave a nod and the dancers walked forward, arms linked, for yet another bow. Vishneva has refused to take bows before: at ABT’s opening night Met gala last year, she wouldn’t come out for her Sleeping Beauty curtain call. Ballet Talk talkers surmised she was upset about her performance. I didn’t see anything lacking in her performance and wondered whether it was just that she had to share the stage with two other dancers who played Sleeping Beauty (at the gala, they had three women dance the part for variety). I turned around to peek at Kevin McKenzie (ABT’s artistic director, who happened to be sitting behind me); he didn’t seem to have a clue as to what might be up either. I turned around and put on my coat. Some other orchestra members came out for some bows. Then another dancer group bow. The lady beside me excused herself and walked past me. I was just about to grab my bag and go when, finally, in what must have been a good fifteen minutes after the end of the last ballet, she emerged from the wings, bedecked in a velvety black, floor length gown with a several-foot-long train. But she didn’t just walk out onstage to the middle of the lined-up dancers; she walked around clear to the back of the stage, proceeded all the way around the row of dancers, went nearly into the opposite wings, and came around in front, prancing to the front of the stage and taking several very long, drawn-out bows. I think by that time all of our standing ovations and applause had long been spent on Richardson, and I heard several harrumphs of annoyance. I know it may be a Russian thing for the prima ballerinas to act like drama queens in taking their bows, and some may see it as a point of amusement for American audiences, but I think people were more confused and annoyed than entertained.

Anyway, the show’s worth seeing for the interesting choreography, the excellent guest dancers from the Kirov, and for Richardson. Go here for tix. Here are a couple of other write-ups from my fellow bloggers, Jolene and Art in California, who have different points of view regarding Vishneva, from me.

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American Song & Dance and Russian Treasures

I had a most excellent ballet weekend. Friday night at NYCBallet was one of the best nights I’ve had at a ballet of mixed bills. The program was titled “American Songs and Dances,” and included three ballets — two by my favorite American choreographer Jerome Robbins and one by NYCB artistic director Peter Martins. The first “Thou Swell,” by Martins was one of the best things I’ve seen by him. It was a ballroomy ballet heavy on pas de deux (my favorite) in which four couples dance the night away to American classics like “Getting to Know You”, “Isn’t it Romantic”, “Blue Moon”, “The Most Beautiful Girl in the World”, “Bewitched, Bothered, and Bewildered”, and “The Lady is a Tramp” etc. etc. etc. The style is jazzy, Art Deco-y 1930s and a large, interestingly-shaped mirror hangs down over the back of the stage. I thought the mirror ever so cool both in its cut and how it allowed you to see the dancing from several different angles, but the guys next to me complained that it created distracting shadows.

 

 

Well, all I can say is there is no one sexier than a male ballet dancer in ballroom attire 😀 Perhaps that is to say there is nothing sexier than dance that looks like ballroom and IS a form of ballroom, but takes on a different cast and is all the more brilliant when combined with the poetry of ballet.

 

After Nikolaj’s farewell, I now can’t take my eyes off of Yvonne Borree. (all headshots by Paul Kolnick). She’s so sweet and so lovely. She danced here with Nilas Martins, my “Nikolaj replacement” and he did a fantastic mad sexy job both partnering her and with his own brilliant expressiveness. Whoever told me he was like Nikolaj in that department, that that ability to express and evoke and emote, bringing you to the edge of your seat, is a Danish thing, was so right! They were charming together and they are the new couple.

 

My other favorite couple was Amar Ramasar (duh!), dancing with Sara Mearns. He was so gorgeously dapper and, tall, dark and handsome, he stands far out from the crowd whether in a pas de deux or ensemble. And there is something so polished about his dancing. With his long legs, his kicks attain greater height than everyone else’s, and, overall he’s just always so suave.

Second on was “Ives, Songs” by Robbins, danced to the music of Charles Ives, the lyrics of which were, nicely, reprinted in the Playbill. A man, here the legendary (now retired) Robert LaFosse wanders around the stage watching dancers of various ages, perhaps his family, act out various dramas. It has a kind of “Norman Rockwell” evocation and makes you a bit sad as he relives scenes from his family life. Here Kathryn Morgan stood out to me — she kind of reminds me Margot Fonteyn. She just steals the scene without trying. I’m starting to notice Justin Peck a lot too. At one point his character goes off to war and he crashes to the ground with the perfect degree of pathos, a fallen soldier. But the person who really blew me away here was the singer, Philip Cutlip. His voice was a miracle and he enunciated every word so smoothly and with such emotion. Yet he didn’t take over; he was a perfect accompaniment to the dancers.

 

And third was Robbins’s magnificient, thrilling “West Side Story Suite.” Andrew Veyette completely blew me away. He danced the part Nikolaj did in his farewell — the leader of the Jets, with the singing role during “Cool It.” He belted out those lyrics far better than Nikolaj — I couldn’t believe a dancer could sing like that! Wow! And he and Amar, as leader of the Sharks, did the fight scene brilliantly. I don’t know how people don’t hurt themselves. Georgina Pazcoquin — oh my, that one can do anything! Anything! She played Amar’s girlfriend, Anita. She sang and danced “In America” like I’ve never seen it done before. She easily got a standing ovation. She must be seen more! This season she has easily become one of my favorite women. Robert Fairchild reprised his Romeo role, playing Tony here with all the youthful angst of the teenager he, unbelievably, still is! I think I stood behind his mother in the press ticket line — I’m not sure because she seemed very young (but then I have to keep reminding myself how young he is) when she happily announced her last name to the ticket guy.

 

Sorry for going a bit headshot-happy here. I just noticed Robert has a new one up, and I thought it was really good. 🙂

 

 

The only thing here: Amar. Surprisingly, he wasn’t all that hard-assed as an intimidating gang leader. He is just more the dapper ballroom gent, I guess. But I think it was partly his costume. I was sitting in the fifth row and I could have sworn they had him in corduroy pants, while everyone else was in jeans. The cords, with their flaring, preppy, schoolboy front pockets made his black tennis shoes look like top-siders. He just looked like a young college professor. Maybe it’s just that I’d just read a Jhumpa Lahiri short story in the New Yorker and the way he was dressed I kept thinking of the male model they had in the accompanying picture, but I just didn’t see him as a Tybalt-esque thug here.

Saturday night was Russian night 🙂 Entitled “Russian Treasures,” it celebrated Balanchine’s creations — some of his greatest — to Tschaikovsky’s music. First on was “Serenade”, one of my favorites, which I’ve written about here and here. Again, Yvonne Borree stood out here in her sweetness and charm. Second was “Mozartiana” — my first time seeing this one, as well as the one that followed, “Tschaikovsky Piano Concerto No. 2” also titled “Ballet Imperial.” Since hearing Terry Teachout rave on about that latter one, I have been dying to see it and it was definitely my favorite of the two. “Mozartiana” (an early Balanchine) had a lot of the very typical back and forth of classical Petipa: pas de deux, male solo with bravura leaps galore, female solo with bravura fouettes galore, male solo ditto, female solo ditto, back to pas de deux again ending in faux happy togetherness. I’m not so into that; it bores me. I did like Daniel Ulbricht in this though — he was the perfect young Mozart as he jumped about youthfully illustrating his solid technique and perfect lines. He didn’t overdo it this time with sky-high leaps, and I liked him for that.

 

Balanchine created “Ballet Imperial” in 1941 for a traveling American Ballet Caravan, which, under the sponsorship of the Roosevelt administration, toured South America. He wanted to create a ballet that celebrated classical dance, while remaining uniquely his own. And that he did: it reminded me a lot of the “Diamonds” portion of “Jewels”, the last third of that ballet in which Balanchine pays loving homage to his native land with majestic ensemble dancing to a familiar, much- cherished Tschiakovksy score. (I wrote about that ballet here.) Originally, the program notes state, it was performed with a scenic backdrop illustrating the Neva River running through St. Petersberg, and Peter and Paul Fortress and gorgeous Winter Palace upon it. But, typical for Balanchine, he took out the background in 1973, feeling the ballet and music could stand on their own, which they can, but I still would have loved to have seen that backdrop! Jonathan Stafford stood out to me here, for the first time. He was magnificient in some high-flying assembles and with his height, he’s the perfect nobleman. Oh, and I just have to say, the pianist, Susan Walters, was breathtaking here! This company sure knows how to find the most excellent musical artists.

So sad though — this is the last week of NYCBallet’s Winter season…