Dance season arrived last week with a vengeance. Suddenly there is just too much to see, too much to choose from! Here are a few of the things I’ve caught around town:
2.Anne Teresa De Keersmaeker and Salva Sanchis’s “A Love Supreme,” at New York Live Arts
3. The New York City Ballet fall gala, with works by Troy Schumacher, Gianna Reisen, Lauren Lovette and Justin Peck
Lincoln Center Festival put together a big show this week: a multinational staging of George Balanchine’s 1967 ballet Jewels, with performances by the Paris Opera Ballet, New York City Ballet, and the Bolshoi. The contrasts were fascinating, and paradoxically, had the effect of focusing attention on the ballet itself, revealing more clearly than ever why Arlene Croce described it as an “unsurpassedbBalanchine primer, incorporating in a single evening every important article of faith to which the choreographer subscribed”. My review is at DanceTabs.
New York City Ballet had its gala on Sept. 30, featuring new works by four youngsters: Robert Binet, Myles Thatcher, Troy Schumacher, and Justin Peck. Here’s my review for DanceTabs.
Over at City Center, Fall for Dance kicked off with two varied programs, each containing a surprise. See my review here.
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.
Misty Copeland had her long-awaited New York début in Swan Lake on June 24, with ABT. How did she do? Here’s my review, for DanceTabs.
And here’s my review of the Royal Ballet—visiting New York for the first time in 11 years— in a double-bill at the Koch. The two works were Ashton’s The Dream and Kenneth MacMillan’s Song of the Earth.
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.
In its first week, the company performs works from its first decade. See my review of two programs here.
At the spring gala, New York City Ballet unveiled a program of Bournonville works. In the first half, a suite of excerpts, including Flower Festival in Genzano and the tarantella from Napoli. In the second, La Sylphide (performed without an intermission). How did they do? You can see my DanceTabs review here.
…after seeing an all-Balanchine/all-Stravinsky quadruple bill at New York City Ballet in this opening week of the spring season. See my review for DanceTabs here.
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.
Dancing Around 