Troy Shumacher’s dances always seem to contain some kind of story, even if you can’t quite tell what that story is. He likes to work with writers, painters, and composers; together they develop a hidden libretto. The results can be a little mysterious. At the same time, his dances have a lot of intention; the dancers are never less than engaged. Their movements seldom feel gratuitous or showy. (And the dancers he chooses, all from City Ballet, are so good!) His ensemble, BalletCollecive, just ended a two-night run at the Skirball. I reviewed it here.
And here’s a feature on Schumacher I wrote for the Times.
New York City Ballet put on its fall gala on Tuesday, with three new works by Liam Scarlett, Justin Peck, and Troy Schumacher (this was Schumacher’s first for the company.) I reviewed the program for DanceTabs, here.
Here’s a short excerpt:
“It’s as pointless to complain about ballet galas as it is to grumble about the weather. They serve a purpose – replenishing the cash drawer – and they keep the plutocrats happy. For the rest of us, there are the new works to look forward to, often unveiled en masse at the opening of the season….As in previous seasons, fashion was the [gala’s] subtext. Each choreographer was paired with a designer whose eye, at least in principle, was called upon to enhance the work. That these designs also create buzz in fashionable circles just adds to their appeal.
Next week, at the New York City Ballet gala (Sept. 23), the young choreographer Troy Schumacher will see his work performed by his home company for the first time. (Schumacher dances in the corps.) I’ve been following his work for a while; he’s an interesting and thoughtful guy, and determined as hell. I wrote this feature on him for the Times’ Arts and Leisure (officially out on Sunday). There’s some background on him—his approach to choreography and collaboration, his fascination with dancers and the way they move, and his commitment to contemporary music.
And if you’re hungry for more, here’s a long interview with Schumacher from last year.
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.”