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A New York Triple

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:

The Mark Morris Dance Group in Spring, Spring, Spring.
The Mark Morris Dance Group in Spring, Spring, Spring.

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?

 

 

Leanne Cope and Robert Fairchild in An American in Paris. Photo by Matthew Murphy
Leanne Cope and Robert Fairchild in An American in Paris. Photo by Matthew Murphy.

 

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.

Olga Pericet by Michael Palma.
Olga Pericet by Michael Palma.

 

Emilio Florido and Soledad Barrio in Cambio de Tercio. By Kevin Yatarola
Emilio Florido and Soledad Barrio in Cambio de Tercio. By Kevin Yatarola
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Deep Song

The members of Noche Flamenca. Photo by Rachel Roberts.
The members of Noche Flamenca. Photo by Rachel Roberts.

This week and next, Noche Flamenca, New York’s reigning flamenco troupe, is back at the Joyce. The group specializes in a stripped-down performance style that brings us as close as possible to the atmosphere of the tablao, or nightclub. No fancy concepts or heavy-handed production values. Soledad Barrio, who leads the group, is an extraordinary performer. Her specialty is the stately, smoldering siguiriya, which she performs with enormous intensity at each show. Here is my review for DanceTabs.

And a short excerpt:

“Similarly, Barrio’s siguiriya, which followed, strayed into the twilight realms of the unknown, best left un-analyzed. Barrio’s slow, majestic strides gave way to clean, fast, nervous zapateo. As she clutched at her elegant, black silk dress, shaking it wildly, this compact, tight-faced woman looked enlarged by an inner force, and beauteous. Her expression was plain but electrified, as if she’d seen a ghost. At one point, she chewed at the air, as if to get a bitter taste out of her mouth; at another, she stalked toward one of the singers, her advance so intimidating that the singer sat down in her chair.”