A few weeks ago, Paloma Herrera and I sat down to talk about her training and career, about moving back to Buenos Aires, and about what she thinks has changed in the world of ballet and in the wider culture. Our chat is now up on the DanceTabs website.
On April 22, the Mark Morris Dance Group returns to BAM with two programs of new works, including Morris’s take on The Rite of Spring, which he calls Spring, Spring, Spring. If you want to know why, check out my preview feature for the Times:
Christopher Wheeldon’s new musical An American in Paris opens on Broadway on April 12. I spoke with him about the challenges of adapting the movie for the stage for this piece, and also to Robert Fairchild and Leanne Cope. Curious?
And finally, a review of two flamenco shows, Soledad Barrio and Olga Pericet, at Joe’s Pub and the Repertorio Español. About as different as two flamenco shows can be.
On Nov. 18-19, the Mikhailovsky performed a triple bill, consisting of Petipa’s 1896 one-act La Halte de Cavalerie, Asaf Messerer’s Class Concert, and Nacho Duato’s Prelude. I reviewed the program for DanceTabs. Here’s a short excerpt:
“The idea behind the triptych is to show three aspects of the company’s style: the classicism and character dance of Petipa; the technical pizzazz of mid-twentieth-century Soviet dance, the eccentricities and atmospherics of contemporary movement. None of the pieces is a masterpiece. However, Petipa’s Halte de Cavalerie, made in 1896, is certainly a charmer, a brainless little farce set to forgettable but lively music by the specialist composer Ivan Ivanovich Armsheimer, with lots of pretty dancing and even more clowning around.”
Over the weekend, I saw a second cast in Liam Scarlett’s new “With a Chance of Rain,” plus Alexei Ratmansky’s beautiful “Seven Sonatas,” JIri Kylian’s “Sinfonietta,” and more. You can read my review here.
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.
Alvin Ailey is dancing at the Koch Theatre in Lincoln Center this week, with its singular mix of exuberance, power, and finesse. Here’s my review of some of the new works (including Robert Moses’ The Pleasure of the Lesson and Wayne McGregor’s Chroma), for DanceTabs.
And a short excerpt: “As a secondary consequence, it has been fascinating to see how these choreographers’ works are in turn transformed by the Ailey dancers. They don’t just do the steps, they mold them to their style and personality.”