New York City Ballet had its gala on Sept. 30, featuring new works by four youngsters: Robert Binet, Myles Thatcher, Troy Schumacher, and Justin Peck. Here’s my review for DanceTabs.
New York City Ballet in Troy Schumacher’s Common Ground, with costumes by Marta Marques and Paolo Almeida of Marques’Almeida. Photo by Paul Kolnik
Over at City Center, Fall for Dance kicked off with two varied programs, each containing a surprise. See my review here.
Rachelle Rafailedes and L.A. Dance Project in Murder Ballades. Photo by Rose Eichenbaum.
Ethan Stiefel as Albrecth in Giselle, 2001. Photo by Rosalie O’Connor.
I sat down with Ethan Stiefel a few weeks after his return to New York from New Zealand where, for three years, he was the artistic director of the Royal New Zealand Ballet. We talked about his time there, his transition from dancer to director, his choreographic aspirations, and his plans (and non-plans) for the future. You can find the interview here, at DanceTabs.
Diana Vishneva and Cory Stearns in “Piano Concerto,” the third section of the “Shostakovich Trilogy.” Photo by Gene Schiavone.
This ambitious new tripartite ballet, set to two symphonies and a piano concerto, all by Shostakovich, had its première at ABT over the weekend. It’s a fine work, sprawling and intense, abstract and full of stories and vivid stage pictures. An huge gift to the company, which shows itself in superb form. Here’s my review for DanceTabs.
And a short excerpt:
“What is most remarkable about the Trilogy is its range, combined with the interweaving of elements from one ballet to the next. Here is a world, Shostakovich’s world as seen by Ratmansky. Each piece has a distinct character, and yet the three clearly come from the same mind, and echo each other in various ways.”
And another striking image:
Part of the final tableau in “Chamber Symphony,” the second part of Ratmansky’s trilogy. Photo by Gene Schiavone.