The Limón Dance Company, a model of grit and endurance in the not-for-the-faint-of-heart field of modern dance, is coming to the Joyce with an ambitious 2-week season involving companies from South America, Europe, and Asia. Not bad for a company that lost its founding choreographer more than 40 years ago. Here’s my preview piece for the Times.
Here’s my review of the Jan. 20 and Jan. 22 programs at New York City Ballet, which included six works by Balanchine: Serenade, Agon, Symphony in C, Donizetti Variations, La Valse, and Chaconne. Not bad for two nights at the ballet.
A little excerpt:
“These Balanchine evenings quickly establish the company’s core values: musicality, speed, lightness of touch, spaciousness, style. They also impress upon the audience the vast range of balletic modes in which the choreographer worked…. The ballets are not only worlds in themselves but, taken as a group, they seem to encompass most of ballet.”
The continues through March 1.
Here’s my review of the Saturday matinee at New York City Ballet, including débuts by Sara Mearns and Russell Janzen in Balanchine’s Chaconne and my second look at Justin Peck’s Everywhere We Go, from last season.
And a short excerpt: “[Everywhere We Go] begins well, with a striking duet for two men, or rather for a man and his shadow. This shadowing theme suffuses the rest of the ballet, particularly the complicated relationship between principals and corps. Peck constantly subverts the hierarchies of lead dancers and ensemble. Dancers melt in and out of larger formations; at times the shadow figures become the main event. Peck’s configurations for the ensemble are often asymmetrical, non-frontal, kaleidoscopic, but never less than clear.”