Looking at the work of John McDevitt King, the word perfectionor some attempt to achieve itstubbornly recurs. In the graphite fields of shading that precisely describe volume and light, and yet retain the warmth of the human touch.
Can medieval art find a niche in the contemporary art world? Gothic Spirit: Medieval Art from Europe organized by London dealer Sam Fogg and now on view at Luhring Augustine embraces this question.
Trisha Brown Dance Company performs at the Joyce Theater Feb 5 10 in a program featuring I love my robots (2007), If you couldnt see me (1994), and Foray Forêt (1980). Susan Yung recently spoke with Trisha Brown in her Soho loft.
Doug Varone founded his New York-based company, Doug Varone and Dancers, in 1986. In addition to choreographing for his own company, which has toured the world, he has directed and choreographed opera, theater, and musical theater. Doug Varone and Dancers will perform at the Joyce Theater from February 24 through March 1.
On the brink of the end of paper, I was attracted to the idea of a book that cant forget it has a body, Jonathan Safran Foer said in a New York Times interview about his art book, Tree of Codes, the inspiration for the dance theater collaboration recently presented at the Park Avenue Armory. Foers book reduces and remakes Bruno Schulzs The Street of Crocodiles (Tree of Codes is a trimmed version of the title) by literally excising words, leaving gaps, and transforming the texts meaning.
In this era of crowd-sourcing, a sharing economy, and a Socialist garnering widespread support as a presidential candidate, BalletCollective makes sense. This ballet troupe is not leaderlessTroy Schumacher is the director and choreographer, and Ellis Ludwig-Leone is composer and music director.
It takes a classic ballet with good bones, like Swan Lake, to withstand centuries of interpretations. Tchaikovsky’s timeless score is often the binding agent among variations, and the key dances by Petipa/Ivanovthe pas de deux, the quartetoften remain intact.
Miami City Ballet brings challenging repertory to the Koch Theater stage, a run that includes George Balanchine, Twyla Tharp, Alexei Ratmansky, Justin Peck, and Liam Scarlett, with accompaniment by the New York City Ballet Orchestra (helmed by Gary Sheldon).
The Mark Morris Dance Group presented two New York premieres as a part of its spring season. Alongside two older pieces, the repertoire showed the range of Morris’s smaller-scale concert performance choreography, encompassing rituals and formalism both ornate and more classical in nature.
There’s a quiet revolution underway at ABTin its spring season, an impressive half of the repertory is by Alexei Ratmansky. The latest addition is The Golden Cockerel, a full-length spectacle originally created in 2012 for the Royal Danish Ballet, which loaned the lavish costumes and scenery by Richard Hudson (based on early 20th-century designs by Natalia Goncharova).
Good news: the L.A. Dance Project (LADP) is back at full strength, with artistic director Benjamin Millepied able to refocus on the company now that he has left his post at the Paris Opera Ballet.
It’s been a surprisingly good year for female ballet choreographers. It could be a side effect of the political climate, or simply numbers—that half the population just might be able to create noteworthy dances as well as the other half, given the chance. In any case, American Ballet Theatre (ABT) commissioned Jessica Lang to create Her Notes, which had its world premiere in the company’s brief fall Koch Theater season.
Dance can be rewarding for its simple humanity and kineticism, particularly in the hands (and feet, and legs, and torsos) of accomplished companies like the Alvin Ailey American Dance Theater, which had its annual month-long run in December.
The rapid artistic evolution of Justin Peck continues to speed forward. His recent New York City Ballet (NYCB) premiere of The Times Are Racing may harken the pioneering sneaker dances of Jerome Robbins, which are playful, street-wise, and express the pleasures and angst of adolescence.
Classical ballet is in ascendance, and it’s growing more diverse. Nearly a decade ago the life of classical ballet was in question.
George Balanchine’s Jewels (1967) is in the repertory of many of the world’s renowned ballet companies, and the 2017 Lincoln Center Festival presented the iconic work with three of the best troupes, each performing one section.
Fall for Dance has been evolving since its inception in 2004, for better or worse becoming a somewhat more serious affair and less of a dance rave.
When Mark Morris has the opportunity to choreograph on a large scale, he has historically created some monumental pieces—L’Allegro, il Penseroso ed il Moderato; Grand Duo; The Hard Nut; and Mozart Dances, to name a few.
New York City Ballet, as an organization, currently exists in a state of suspended animation between the resignation artistic director Peter Martins—accused of emotional and physical abuse of the dancers and cleared by a perhaps less than impartial arbiter—and the appointment of a successor, for whom the search is underway.
With this summer’s dearth of other large venue dance at Lincoln Center, and Morris’s consistency with Mozart festival appearances, suddenly the “enfant terrible” has assumed the role of grand poobah of summer dance at the cultural center.
ohn Jasperse kicked off the 2018 Quadrille, a series curated by Lar Lubovich in which a temporary square platform bridges the front of the regular Joyce stage and some front orchestra seats; viewers sit onstage on risers and in standard rear house seats.
New narrative dance productions—as opposed to abstract or “pure dance”—exist in a kind of netherworld these days.
After many months under an interim leadership team of dancers who replaced the ousted Peter Martins, the company announced that Wendy Whelan, who retired from the company in 2014 after 30 years, will be associate artistic director, and ex-principal Jonathan Stafford—who had become the de facto leader—will be artistic director.
ABT continues on its path to becoming Alexei Ratmanskys company.
The current iteration of Paul Taylor Dance Company prominently displayed the change in personnel, seen recently in the bijoux box of the Mahaiwe Theater. Flash back to the companys last big season in fall 2019 at the Koch Theater, when the wholesale company turnover was already underway in the wake of Michael Trusnovecs summer farewell during the Bach Festival at Manhattan School of Music.
At the New York City Ballet Fall Fashion Gala, choreographers Sidra Bell and Andrea Miller produced very different works, each possessing moments of interest, but ultimately falling short on choreographic invention.
A recent diablog on Artsjournal.com centered on whether New York is the dance capital of the world. It raised as many questions as it answered, but it underscored what we jaded New Yorkers can take for grantedthe considerable wealth of all kinds of dance, from large companies to open class schools.
Michael Trusnovec joined the Paul Taylor Dance Company in 1998, and won a 2006 Bessie Award for his body of work with the company. In the Paul Taylor Dance Companys March 2007 season at City Center, 32-year-old Trusnovec can be seen in 13 of 18 dances
Ohad Naharin, artistic director of Batsheva Dance Company based in Tel Aviv, was recently in residence at Cedar Lake Contemporary Ballets Chelsea studio teaching a training method he developed called gaga.
In this modern world, we conduct our lives through a surprising amount of mediation and simulacrum. We rely on computers for most basic informationtime, outside temperature, current headlines.
Generating new movement ideas is difficult for choreographers, particularly when creating full-length dances. It’s so challenging that most of the big ballet companies continue to rely on narrative staples from centuries ago.
Pam Tanowitz has been making compelling dances since 2002, and yet has been passed over until just recently for choice commissions. Now, we can finally stop wondering: why isnt Tanowitz asked to create work for major companies?
Robbins contributions and choreography in the original versions will forever be treasured, but De Keersmaeker has provided powerful, contemporary new dances that shine.
Of modern dance’s pioneering choreographers, precious few are represented in extant companies.
New York City Ballet (NYCB)’s recent tradition of holding a fall fashion gala has evolved from a somewhat crass leveraging of the influential world of haute couture into a fuller consideration of the conceptual possibilities of fashion as explored through dance. In the recent gala, this shift was brought into high relief by the juxtaposition of the season’s most interesting premiereUnframed, by Annabelle Lopez Ochoa, with costumes by Rosie Assoulinwith a section from Bal de Couture by Peter Martins, costumed by Valentino, from the first fashion gala in 2012.
The annual three-week Paul Taylor American Modern Dance season is always an impressive physical and mental tour de force for the company. Perennial questions anticipate the run: what premieres will Taylor present and how will they fit into his oeuvre?
Modern dance choreographers have been planning for their legacies in various ways. Some have chosen to disband their companies; others have, at times with the help of their boards, chosen successors. Michael Novak, a distinguished dancer with Paul Taylor Dance Company since 2010, was recently named Artistic Director Designate of the Paul Taylor Dance Foundation. I sat down with him at the Foundation headquarters in lower Manhattan.
A lot of the time I start with a new phrase, movement, or idea, but Ill also bring along old material that feels interesting, that could be worked on more, or failed in another piece but I want to bring it forward, because part of the nature of a project-based company is that we dont have a repertory to rehearse. That always inspires me. Were not like Mark Morris Dance Group, working on a new piece in the morning, and rehearsing old pieces in the afternoon. What were working on is what were working on.
The all-Ratmansky program leading up to this premiere displayed ABT’s breadth, but also a conundrum—how to remain relevant while keeping the old classics fresh?
In Carousel, the stage is often crammed with props such as wooden pallets, lobster pots, and clambake detritus, leaving little space for the dancers. But Peck guides the action vertically by inserting jumps and spins; arms and legs make variegated shapes to add visual interest.
American Ballet Theatre (ABT) took a gamble on commissioning tap choreographer Michelle Dorrance to create a pièce d’occasion for its 2018 Spring Gala. The wisdom of the choice became apparent in the first moment, when three women struck the floor, one-two-three, with their spotlit pointe shoe toes. How ingenious, and in retrospect natural, to use the toe shoe as a percussion instrument, rather than denying its proclivity to thump and clack with each step—something all ballerinas are trained to avoid. Dorrance allows ballerinas to embrace their physical selves, tethered to earth by gravity just like the rest of us. Her use of tap is not just percussion; it’s overturning a whole aesthetic and artistic dogma
In The Realest MC, the hot button topics of gender expression, assimilation, bullying, and appropriation simmer with the threat of boiling over every now and then. The takeaway is powerfulprovocative ideas that linger in the mind long after the show ends.
The Joyce Theater remounted Molissa Fenleys landmark solo, State of Darkness to Stravinskys The Rite of Spring. Fenley and Joyce Executive Director, Linda Shelton, spoke with Susan Yung about the origins of the piece and staging the demanding choreography in the pandemic.
What July/October activity in New York takes you on a three-hour sojourn filled with twists and turns, heroes, villains, and colorful minor characters, leading to either triumph or heartbreak?
Mozart Dances (2006) is one of Mark Morris’s grandest and most pleasurable artistic achievements. This evening-length work in three sections elucidates the prominent themes in Mozart’s compositions with choreography that holds its own when paired with the music that has intimidated many choreographers.
Jane Comfort and Companys 40th Anniversary Retrospective demonstrated how the choreographers work engages with audiences, while proving its wide-range and resistance to definition.
Dorrance Dance, Mark Morris Dance Group, and ABT performed with and against nature at the Kaatsbaan Spring Festival.
The contents of Lincoln Kirstein's Modern sprawls over a lifetime, with work reflecting Kirstein's myriad interests and varying levels of involvement with cultural institutions. Curators Jodi Hauptman (Senior Curator) and Samantha Friedman (Associate Curator, Department of Drawings and Prints) dissected Kirstein's career and laid out a panoply of artifacts as graphic evidence of his many obsessions.
With springs overdue arrival comes the promise of viewing things with fresh eyes.
David Byrnes American Utopia, on Broadway, is a jukebox musical, yes, but it upends the genre. Its at once brilliantly simple and subversively revolutionary, kind of like Byrne himself.
Implied in Crossing the Line Festival’s title are several possible interpretations of the phrase—crossing borders, boundaries of the known, even perhaps going too far.
Mikhail Baryshnikov has become such a familiar presence in New Yorks cultural world that its easy to take him for granted.
Belgian Sidi Larbi Cherkaoui has choreographed Orbo Novo for Cedar Lake Contemporary Ballet, to be performed at the Joyce Theater from Oct 20-25.