Looks like I have some catching up to do…

Let’s recap 🙂

Since my last post (of Jan. 20), New York City Ballet has reached the midpoint of its winter season. Here are a few glimpses of what’s gone on so far.

On Jan. 22, I reviewed two mixed bills, one including Liebeslieder Walzer and Glass Pieces, the other Ballo della Regina (a not very inspiring performance), Kammermusik No. 2, And Tchaikovsky Suite No. 3. You can can read my review, for DanceTabs, here.

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Then, on Jan. 27, I reviewed a wonderful all-Balanchine program: Walpurgisnacht Ballet, Sonatine (jazzily danced by Tiler Peck), a luminous Mozartiana, and a pretty good Symphony in C. The review is here.

Sterling Hyltin in Mozartiana. © Paul Kolnik.
Sterling Hyltin in Mozartiana.
© Paul Kolnik.

While I was down in Sarasota, I watched rehearsals for Miro Magloire’s new ballet for Aida. It was fascinating to see him navigate the challenges of choreographing for opera: restricted space, weird footwear, fabric, tempo. I wrote about it here, for DanceTabs.

Sarasota Opera rehearsing Aida. © Sam Lowry and Sarasota Opera.
Sarasota Opera rehearsing Aida.
© Sam Lowry and Sarasota Opera.

The Trisha Brown Dance Company is completing its three-year Proscenium Works Tour, after which the company will transform itself into a smaller, more nimble entity. Brown’s large pieces will likely never be performed by her company again. An important, and moment of transition for the company. Her dancers came to BAM one last time at the end of January, where they performed Set and Reset, Present Tense, and Newark (Niweweorce). My review for DanceTabs is here.

Trisha Brown Dance Company in Present Tense. © Nan Melville.
Trisha Brown Dance Company in Present Tense.
© Nan Melville.

The Baroque-Burlesque company Company XIV, which created a very effective Nutcracker a few years ago, is back with a new decadent evening, a naughty version of Snow White. Decadent it is, an sumptuous to look at, but unfortunately, not tight enough to hold my interest for two hours. Here’s my review, for DanceTabs.

Lea Helle in Snow White. © Mark Shelby Perry.
Lea Helle in Snow White.
© Mark Shelby Perry.

Gemma Bond, a dancer with ABT, produced her first full evening of works, danced by a group of her friends (all wonderful dancers). The evening was a bit of a throwback, with much loveliness all around. My review is here.

Unspecified work in Gemma Bond’s Harvest bill. © Kathryn Wirsing.
Unspecified work in Gemma Bond’s Harvest bill.
© Kathryn Wirsing.

Nutcracker Érotique

Laura Careless as Marie-Claire and Marisol Cabrera in Nutcracker Rouge. Photo by Phillip Van Nostrand.
Laura Careless as Marie-Claire and Marisol Cabrera in Nutcracker Rouge. Photo by Phillip Van Nostrand.

Last week, I saw Company XIV’s Nutcracker Rouge, at the Minetta Lane Theatre, and found it to be a rather good show: sexy, imaginative, and great to look at. Here’s my review for DanceTabs.

And a short excerpt:

“I’ll bet this is not the first Nutcracker Ă©rotique, but it certainly makes a persuasive argument for the genre. This is partly due to the esthetics of the show – part Marquis de Sade, part cabaret, part drag show – , so beautifully executed by Zane Pihlstrom, the company’s resident designer. Baroque costume, with its panniers, ribbons and delicately-curved heeled shoes (for men and women), lends itself particularly well to the decadent esthetics of burlesque. The corsets are so flattering, and there are so many layers to remove, so much to reveal underneath.”