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Two Young Choreographers on the Move: Justin Peck and Troy Schumacher

Last week I attended lecture-dems showcasing the work of two young choreographers, both of whom are also members of New York City Ballet. I wonder what they’re putting in the rosin over there at the StateTheatre, because there really seems to be an upsurge in creativity in the ranks. (But why, still, no women choreographers?) The notion that ballet is a languishing form flies out of the window when one sees their work and hears them talk.

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Works & Process talk at the Guggenheim: Ellen Barr, Justin Peck, Michael P. Atkinson, Sufjan Stevens and Karl Jensen. Photo by Jacklyn Meduga for Works & Process at the Guggenheim.

You’ll find a discussion of the two events here, for DanceTabs. And a short excerpt:

“It has now become clear that ballet is undergoing an important evolution, and I’m not referring to the overwrought, effect-laden mannerisms of much of what is referred to as “contemporary ballet.” This is a change that is blossoming within ballet’s own idiom, using the specific skill-set of ballet dancers: jumping, turning, balancing, sliding, skittering on pointe, flickering the legs at warp speed, tipping and extending hyper-articulate bodies.”

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About a Boy—a new ballet for New York City Ballet by Liam Scarlett

On Friday, New York City Ballet unveiled its first ballet by the young Briton Liam Scarlett, who, at 27, is considered one of the most promising new voices in ballet. The work is entitled “Acheron”—the name of a river in Greek mythology— and set to Poulenc’s Concerto in G for Organ, Strings, and Tympani, the same piece Glen Tetley used for his1973 ballet Voluntaries. You can read my review for DanceTabs here.

And here’s a short excerpt:

“The première of Acheron…revealed a choreographer of prodigious imagination and compositional craft, adept at building an atmosphere and suffusing it with traces of meaning. Though the ballet is abstract, without characters or a plot, an underlying theme coalesces by the end. With this deeper understanding, everything that comes before is bathed in a different hue. I’m eager to see it again, armed with this knowledge.”
I’d love to hear comments and thoughts from others who saw the ballet.

Enjoy your sunday—I hear Renée Fleming will be singing somewhere in Jersey tonight…

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Gala Fare–NYCB Salutes Fashion, and, yes Ballet

Craig Hall in Iris Van Herpen's design for Neverwhere, by Benjamin MIllepied.
Craig Hall in Iris Van Herpen’s design for Neverwhere, by Benjamin MIllepied.

New York City Ballet held its fall gala on Thursday (Sept. 19), at which it introduced three collaborations between choreographers (Justin Peck, Benjamin Millepied, and Angelin Preljocaj) and designers (Prabal Gurung, Iris Van Herpen, Olivier Theyskens). The focus of the past few galas has fallen—thanks to Sarah Jessica Parker, who’s on the board—mainly on the fashion side, and less on the side of intriguing choreography. The three works had their merits, but all the fuss seemed to be about the costumes. It’s clear that the tactic is meant to attract and entice the gala patrons, who get two thrills for the price of one: new choreography, big-name designers. But one wonders if they really feel they are getting a good deal? The applause at galas is always on the polite side, so it’s hard to tell. The evening looked sold out. So much the better. But will these ballets merit viewing and re-viewing?

Here’s my review of the evening for DanceTabs.