I sat down with Ethan Stiefel a few weeks after his return to New York from New Zealand where, for three years, he was the artistic director of the Royal New Zealand Ballet. We talked about his time there, his transition from dancer to director, his choreographic aspirations, and his plans (and non-plans) for the future. You can find the interview here, at DanceTabs.
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.
Alexei Ratmansky’s new Tempest premièred at American Ballet Theatre’s fall gala, held at the old State Theatre. Because of the departure (and now closure) of New York City Opera, the theatre is now becoming a magnet for dance companies. ABT is appearing there for the first time since the seventies, and it looks quite at home on its stage. It’s a great space for dance, with excellent site lines.
Anyway, the program consisted of of three works: Balanchine’s Theme and Variations, The Tempest, and a trifle by Marcelo Gomes. Here’s my review for DanceTabs.
And a short excerpt: “As the note in the program points out, ‘the ballet is at once a fragmented narrative as well as a meditation on some of the themes of Shakespeare’s play.’ It is both those things, but even more, it is a series of psychological portraits of its central characters. Each (Miranda, Ariel, Caliban, Ferdinand) dances a kind of aria. Most also have a duet with Prospero; he is the hub of the play’s network of relationships.”