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.
The end of American Ballet Theatre’s spring season brought a trio of farewell performances for the soloists Sascha Radetsky, Yuriko Kajiya, and Jared Matthews. Each led a cast of Coppélia; two were débuts. Quietly, Joseph Gorak also débuted this week as Franz. Recently promoted to soloist, Gorak is a young danseur noble in the making. So it goes in ballet, an art for the young, ambitious, and blindly devoted. Here’s my review for DanceTabs.
Dance Theatre of Harlem is currently wrapping up its second season since its return under the steady leadership of Virginia Johnson. (You can read more about here here, in this long and wide-ranging interview from last year.)
Like last year, the dancers’ warmth and directness are a pleasure. Ashley Murphy is a knockout. Chrystyn Fentroy radiates joy. But the dancing is still uneven, and especially in the more classical works, it shows some strain, some sloppiness. Then there is the question of repertory, which Johnson is molding with an eye to the company’s history and identity. It’s a difficult job. You can read more about the season here, in my review for DanceTabs. Here’s a short excerpt:
“The opening and closing of Gloria are explosions of joy, in which toe-heel taps and shimmying shoulders feel organic, like part of a misa criolla. Several passages leave vivid after-images, as when Ashley Murphy hovers in profile, her strong feet shimmering like hummingbird wings. As she bends forward or arches toward the sky, she alternates between atonement and elation.”