Posted on

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.

jm-talk-barr-justin-peck-atkinson-stevens-jensen-smile_620
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.”

Posted on

Onward, Ballet

Ashley Laracey and Taylor Stanley in Troy Schumacher's "Warehouse Under the Hudson"
Ashley Laracey and Taylor Stanley in Troy Schumacher’s “Warehouse Under the Hudson”

After a little hiatus, here’s my first review of the pre-season, for DanceTabs. It’s a roundup of the second half of the so-called “Ballet v6.0 Festival,” a showcase of young choreographers working outside of the large ballet institutions (presented by the Joyce Theatre).  I caught the work of three choreographers: Olivier Wevers, Troy Schumacher, and Jessica Lang. Been wondering what the up-and-coming generation of ballet choreographers is up to? Well, here’s a peek.

A short excerpt: “There are lingering questions in people’s minds about ballet’s validity. Mainly, these tend to focus on the academicism of its forms, on the question of what is suitable content for dance, and, inevitably, on the stark gender division implied by the pointe shoe. What are the ethics and esthetics of dancing on pointe in 2013?”
I welcome comments, complaints, corrections, in fact reactions of any kind.