Misty Copeland had her long-awaited New York début in Swan Lake on June 24, with ABT. How did she do? Here’s my review, for DanceTabs.
And here’s my review of the Royal Ballet—visiting New York for the first time in 11 years— in a double-bill at the Koch. The two works were Ashton’s The Dream and Kenneth MacMillan’s Song of the Earth.
This time of year, it’s hard to keep up with the goings-on in the dance world (particularly ballet). Here is a round-up of recent performances and news:
1. Herman Cornejo and Evgenia Obraztsova performed a touching rendition of Romeo and Juliet at the Met. It was Obraztsova’s début with the company—here’s hoping this new partnership will blossom in coming seasons. Here is a link to my review, for DanceTabs.
2. New York Theatre Ballet, alias “the little company that could,” held its first season in the sanctuary at St. Mark’s Church, its new home. On the program were works by Frederick Ashton, Richard Alston, David Parker, Antony Tudor, and the young choreographer Gemma Bond. The space fits the company beautifully, and the inclusion of live music (piano and voice) made all the difference. Here’s a link to my review, for DanceTabs.
3. The Alvin Ailey American Dance Theater closed out the season with a Rennie Harris’s moving Exodus (new this season), Robert Battle’s No Longer Silent (a company première), and, of course Revelations. Here’s my review, for DanceTabs.
4. And finally, Julie Kent gave her final performance with ABT, a finely-etched portrait of Juliet in the well-loved Kenneth MacMillan production. As always with this thinking ballerina, every detail was beautifully distinct. It is difficult to imagine works like A Month in the Countrywithout her.
When I was preparing for an article for Dance Magazine, Doug Fullington, who runs the audience education programming at Pacific Northwest ballet, and I talked about the recent renewal of interest in the use of nineteenth and early twentieth-century ballet notations. Some excerpts of that conversation are here, on DanceTabs.
After seeing two performances of Natalia Makarova’s La Bayadère at American Ballet Theatre I was left feeling that the ballet has gone a bit stale. You can read my review of the two casts, for DanceTabs, here.