Alexei Ratmansky’s Nutcracker for American Ballet Theatre is having its last run at the Brooklyn Academy of Music before moving to the west coast next year. For the first time since its premiere in 2010, the theatre is full… Can’t help feeling a pang of loss. It’s a wonderfully imaginative rendition, a great antidote to Balanchine’s pitch-perfect version. Here’s my review of last night’s performance for DanceTabs, with Cory Stearns and Hee Seo in the lead roles.
Last night I saw my umpteenth performance of Balanchine’s Nutcracker at New York City Ballet, and was once again impressed by the construction, power, and fluency of this version. Yes, it was a particularly tight performance, without a weak link—even the kids were especially lively. But it’s not just that. There is something in the way the choreographer paced the action, the dancing, and the music that both streamlines and enlarges it. I talk about it some more in my review for DanceTabs.
And if you just can’t get enough, here is an excellent piece by Laura Jacobs about the history of the ballet, from Vanity Fair.
What is it with Swan Lake? There don’t see to be any good ones around. The Bolshoi’s version, currently being performed as part of the Lincoln Center Festival, is no exception. Here’s my review, for DanceTabs. And a short excerpt:
“What the company hasn’t brought this time around is any new choreography. It’s rather a disappointment. Instead, we get three of its most well-worn ballets – Swan Lake, Don Quixote, and Spartacus. It is even more disappointing that the troupe should open its run with a Swan Lake so lackluster that it fails to improve upon the two sub-par Swan Lakes we see here regularly, at ABT and at New York City Ballet.”
Here’s my Nutcracker roundup for DanceTabs.
And a short excerpt: “What is clear is that every Nutcracker is a reflection of its creator. Ratmansky’s is tender and full of fantasy; Chernov and Kirkland’s is reverential and deeply considered; and Balanchine’s is diamantine, lucid, with no space for indulgence. The Nutcracker can be all these things.”
Last week, I saw Company XIV’s Nutcracker Rouge, at the Minetta Lane Theatre, and found it to be a rather good show: sexy, imaginative, and great to look at. Here’s my review for DanceTabs.
And a short excerpt:
“I’ll bet this is not the first Nutcracker érotique, but it certainly makes a persuasive argument for the genre. This is partly due to the esthetics of the show – part Marquis de Sade, part cabaret, part drag show – , so beautifully executed by Zane Pihlstrom, the company’s resident designer. Baroque costume, with its panniers, ribbons and delicately-curved heeled shoes (for men and women), lends itself particularly well to the decadent esthetics of burlesque. The corsets are so flattering, and there are so many layers to remove, so much to reveal underneath.”
Program two included works by Mark Morris (Beaux), Alexei Ratmansky (From Foreign Lands), Edwaard Liang (Symphonic Dances) and Yuri Possokhov (Classical Symphony). Thinking about it, I realize that both Beaux and From Foreign Lands represent the un-Wayne McGregor: subtle, quiet, deceptively laid back. They invite you into their world and encourage you to lean in rather than overwhelm you with virtuosity and visual stimulation. Perhaps for this very reason, they did not elicit much response from the audience. Applause was polite at best. But they were the heart of the evening.
Here’s my interview with Susan Jones, a ballet mistress at American Ballet Theatre in charge of the corps de ballet. Jones joined ABT in 1970 and stayed for nine years. In that time, she danced every corps role in the rep, plus Lizzie in Fall River Legend, Cowgirl in Rodeo, and a few other choice parts that suited her dramatic side. She quickly showed a skill for remembering steps, which became handy when working with Twyla Tharp on Push Comes to Shove. Baryshnikov made her a ballet mistress, and she never left. This fall, she is re-staging Tharp’s Bach Partita, which hasn’t been done for almost thirty years.