In Midsummer Night’s Dream, Balanchine does what he does best: tells a story, then gives us its abstract expression. See my review of New York City Ballet’s final performances here, at DanceTabs.
On May 8, New York City Ballet held its spring gala, marking fifty years since the opening of the State Theatre. Along with a toast, a short film, and a song from “Carousel,” the evening included two ballets: Balanchine’s whirling “Allegro Brillante” and the première of Justin Peck’s new “Everywhere We Go.”
Here‘s my review, for DanceTabs:
And a short excerpt:
“Peck has the mind of a mathematician; he finds ways to subdivide the stage and keep the eye continually guessing. Shapes appear momentarily and dissolve, only to reappear again somewhere else. Soloists weave in and out of the ensemble. The body is also subdivided in surprising ways: sometimes only the arms move, in complex phrases combining staccato and stretched combinations; other times, just the torso, or just legs.”
Edward Villella is back in town, unbowed by his Miami City Ballet experience and ready to begin the next chapter of his life. I sat down with him recently at a café around the corner from his Hamilton Heights brownstone to talk about his life in dance, Balanchine, his experiences in Miami, and his plans for the future. You can read the interview here, in DanceTabs.