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.
I did a piece for the New Yorker Culture Desk on Paul Taylor’s newest adventure: turning his company into a repository of modern dance. You can read it here.
As American Ballet Theatre’s fall season at the State Theatre comes to an end, I put together some thoughts for DanceTabs about some of the seasons’ high points, especially a dramatic performance of José Limon’s Moor’s Pavane (with Roman Zhurbin in the role of the Moor), a very touching Month in the Country, and the return of Piano Concerto #1 from last season.
Here’s a short excerpt: “The Nov. 7 cast of Month in the Country was particularly felicitous. Julie Kent’s portrayal of Natalia Petrovna is touching, unstinting in both her vulnerability – her heart seems to literally skip a beat as Guillaume Côté, the handsome tutor, takes her hands in his – and her histrionic, conniving nature….Gemma Bond, as young Vera, is equally multi-hued, if not quite so profound: sweet and eager in the opening scene, desperate and determined to get her way in her pas de deux with Beliaev, and furiously righteous – as only an adolescent wronged can be – when she discovers Petrovna’s dalliance with Beliaev. Côté, on loan from the National Ballet of Canada, was débuting in the role of the tutor, and yet he seemed to instinctually capture the character’s mix of innocence, heedless sensuality, and ardor.”
This season, ABT brought back Bach Partita, which it hasn’t performed since 1985, two years after it was created for the company. It’s a big, brilliant piece, with thirty-six dancers, who animate the stage with in constantly changing patterns for thirty minutes. The music is Bach’s second partita for solo violin, a monster of a work, played in the pit by the young violinist Charles Yang. Here’s my review for DanceTabs. (It also includes thoughts on Mark Morris’s Gong and Alexei Ratmansky’s new Tempest, which I saw again this week.)
And a short excerpt: “Throughout the ballet, Tharp’s movement is technical, precise and highly articulated. As with Balanchine, the bodies are always distinct, framed in space….It’s not unusual to have three pas de deux going on at once, independent of each other. In these cases the eye is forced to jump from one to the other, and it’s virtually impossible to catch everything.”