The Lincoln Center Festival is presenting a retrospective of the Belgian choreographer’s early works. Last night, I saw her Rosas Danst Rosas, a dance that has been canonized as one of the milestones of contemporary choreography. The film version, by Thierry de Mey, has been viewed and imitated thousands of times, including, most recently, by Beyoncé. To me, the dance has a distinctly “mean girls” vibe—four adolescents, stuck in a kind of study-hall purgatory. Here’s my review of the piece, for DanceTabs.
Last week I attended lecture-dems showcasing the work of two young choreographers, both of whom are also members of New York City Ballet. I wonder what they’re putting in the rosin over there at the StateTheatre, because there really seems to be an upsurge in creativity in the ranks. (But why, still, no women choreographers?) The notion that ballet is a languishing form flies out of the window when one sees their work and hears them talk.
“It has now become clear that ballet is undergoing an important evolution, and I’m not referring to the overwrought, effect-laden mannerisms of much of what is referred to as “contemporary ballet.” This is a change that is blossoming within ballet’s own idiom, using the specific skill-set of ballet dancers: jumping, turning, balancing, sliding, skittering on pointe, flickering the legs at warp speed, tipping and extending hyper-articulate bodies.”
Here’s my latest for DanceTabs, a review of New York City Ballet’s spring gala, which included a new ballet, a pas de deux by Christopher Wheeldon, and the revival of an older work, Soirée Musicale, as well as excerpts from Who Cares, Stars and Stripes, Glass Pieces, and West Side Story Suite.
And a short excerpt:
“Considering the many distinctive works Wheeldon has given this company over the years…a Wheeldon première inevitably brings raised expectations. His newest piece, A Place for Us, turns out to be an extended pas de deux for two of the company’s most musical dancers, Tiler Peck and Robert Fairchild. Both move with scintillating clarity mixed with a jazzy sense of all-American informality….In response to these qualities, Wheeldon has created a dance that has the feel of an improvisation, as well as an homage to the artful spontaneity cultivated by Jerome Robbins in works like Other Dances and A Suite of Dances.”
Questions, comments, and complaints welcome!
Here’s my review of Lil Buck, a young dancer specializing in a kind of hip-hop dance from Memphis known as Jookin’. He performed at the downtown spot Le Poisson rouge with an eclectic cast of musicians, including Yo Yo Ma, the quartet Brooklyn Rider, and the jazz trumpeter Marcus Printup. He’s a remarkably musical dancer. I reviewed the performance for DanceTabs.
And here’s a short excerpt:
“One of the immediately impressive aspects of Jookin’ technique is the fact that the impulse behind the footwork is concealed, so there seems to be no weight at all on the feet; the dancer propels himself in any direction with a kind of liquid, uninterrupted pas de bourrée, a series of tiny, braided steps. This unbroken continuity of motion is made possible by extremely flexible and controlled ankles, which undulate as the dancers create figure eights with their feet.”