After posting my interview with the great American ballerina Virginia Johnson (now artistic director of Dance Theatre of Harlem) on DanceTAbs, I heard from the young dancer Michaela DePrince. Ms. DePrince, who danced with DTH for a year, has since moved on to Dutch National Ballet’s junior company, based in Amsterdam. As many of you know, Ms. DePrince was born in Sierra Leone, under very difficult circumstances in the civil war there. She lost her parents at a very young age, and saw some horrific events while living at an orphanage, including the killing of her pregnant teacher. Adopted by a New Jersey family, she has thrived. She discovered her love of ballet early, and went on to study at the Rock School in Philadelphia, and then the Jacqueline Kennedy Onassis school (affiliated with ABT) in New York. A few days ago, we chatted over email about her life, her training, and her career so far. The issue of racial inequality in ballet inevitably came up. It is her feeling (echoed by many others) that artistic directors are wary of taking non-white dancers for fear of upsetting the homogeneous “look” of the corps de ballet. It’s interesting, though, that in some countries, such as Cuba, this does not seem to be an issue. One of the great pleasures of seeing the Ballet Nacional de Cuba a couple of years ago at BAM, was seeing how mixed the ensemble really is, and what vitality this produces onstage. The company reflects the country; this, automatically, makes ballet seem of our time. You can read my interview with Michaela de Prince here.
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American Ballet Theatre held its spring gala at the Metropolitan Opera House on May 13, kicking off the season. It included the usual mix of excerpts, but also full performances of Balanchine’s Symphony in C and Ratmansky’s Symphony No. 9. You can read my review for DanceTabs here.
And here’s a short excerpt:
“[Students from the Jacqueline Kennedy Onassis School and members of the Studio Company] performed…a charmingly formal demonstration of classroom technique (Cortège)… Each dancer had a moment to shine. The students’ port de bras, soft and beautifully shaped, was a particular pleasure. It was funny to see the contrast between this formal demonstration and what followed: a display of just how un-classical today’s dancers can be. I wonder if the faculty shielded the young dancers’ eyes as Ivan Vasiliev tore across the stage like a panther and planted himself behind Xiomara Reyes, placing his hands on her waist with workmanlike focus….Vasiliev is no paragon of elegance, that’s for sure, but his sheer exuberance, and the power of his jumps and lifts, makes him an undeniable presence onstage. No-one does an overhead lift like Vasiliev; he seems to want to propel his ballerina into the stratosphere. If he could dislocate his shoulder to get her even higher, he would.”
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!