Author: Philip Gardner

  • Emery LeCrone/Columbia Ballet Collaborative

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    Sunday March 21, 2010 – Emery LeCrone invited Kokyat and me to a rehearsal for her new work being created for the Columbia Ballet Collaborative‘s upcoming performances at the Miller Theater on April 9th & 10th.

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    Emery’s work is entitled Five Songs for Piano and is set to selections from Mendelssohn’s Songs Without Words, Opus 19, #2 – 6. Click on the first two images for a closer look.

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    Victoria North, who is Artistic Director of the Collaborative, dances a soloist role in the new ballet and she is joined by an ensemble of four young Columbia students:

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    Erin Arbuckle…

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    …Jen Barrer-Gall…

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    …Nicole Cerutti…

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    …and Alexandra Ignatius.

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    The work has been set and now Emery is polishing up the details and sometimes adding, discarding or altering moves and gestures. The music is sometimes plaintive and sometimes vivacious. The girls worked smoothly together to produce the look Emery wants; counts and spacing were discussed and Victoria’s solo passages were worked into the framework of the quartet.

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    After Emery broke down and spruced up individual segments, she suggested technical corrections and got the girls thinking about expressive nuances. Then they tried a full run-thru during which the shape of the ballet became clear and the detail work paid off. It’s a really attractive, lyrical piece – I’ve always thought so much of Mendelssohn’s music truly begs to be danced to – and the girls responded well to the score and to Emery’s style of movement.

    Here are more of Kokyat’s images from the rehearsal:

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    Nicole and Victoria.

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    Nicole (in front).

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    Jen.

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    Erin.

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    Alexandra.

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    Performance details:

    Columbia Ballet Collaborative proudly presents an engaging program of contemporary ballet works in its return to Miller Theatre. The program includes choreography by Justin Peck, Emery LeCrone, Monique Meunier, Lauren Birnbaum, Claudia Schreier, and John-Mark Owen. Guest artists include Teresa Reichlen and Justin Peck of the New York City Ballet.

    Tickets are just $12 (or $7 with Columbia University ID). Tickets are available online or at the box office:

    Miller Theatre Box Office
    2960 Broadway (at 116th street)
    212-854-7799

  • Roman Baca’s NUTCRACKER Rehearsal

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    Saturday October 23, 2010 – Kokyat and I went to watch choreographer Roman Baca working on his upcoming new production of THE NUTCRACKER for Ballet Theatre Company’s annual performances at St. Joseph’s College in West Hartford, Connecticut. A USMC veteran of the Iraq war, Roman presents the ballet as A Soldier’s Nutcracker. Above, Paige Grimard leading the Waltz of the Flowers.

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    Taylor Gordon would normally be dancing in this NUTCRACKER but following surgery (from which she’s well on her way to recovery) she is serving as ballet mistress for the production. Most of the divertissement pieces are double-cast giving the dancers expanded opportunities.

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    How many dozens of times have choreographers tackled the NUTCRACKER since Balanchine put it on the map? I really like what Roman is doing with it: very classical in feel but steering clear of the ideas we’ve seen in other settings. For example, his Harlequin (Michael Wright, above)…

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    …and Columbine (Hope Kroog) do not dance together: they each have a solo in turn.

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    Roman’s Arabian is probably my favorite from among the set pieces I’ve seen so far for this production: Roman creates a very sensuous and demanding pas de deux. Above: Kimberly Gianelli and Kendahl Ferguson.

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    Arabian (and many other roles in the production) are double-cast. Above: Michael Wright, Jessica Freitas.

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    Spanish is a trio: a man and two women. Above: Adrienne Cousineau, Michael Wright and Crystal Danzer ready to start. Marzipan is another trio, all girls in this case. And there are two alternating Dewdrops for the Waltz of the Flowers...

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    …Mayo Kurokawa…

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    …and Paige Grimard.

    Thru being over-played 24/7 from Thanksgiving til New Year, the music of the NUTCRACKER makes some people nauseous. Me? I love it still and most especially the Waltz of the Flowers – melodies that tug at the heartstrings try as we may to withstand their charms.

    The pure dance numbers are being rehearsed here in NYC and the party scene and all the story work are being done up in Connecticut meaning that Roman is trekking back and forth.

    Here are a few more of Kokyat’s images from today’s rehearsal:

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    Jessica Freitas

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    Michael Wright, Crystal Danzer

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    Kimberly Gianelli, Kendahl Ferguson

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    Maddie James

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    Jessica Freitas, Michael Wright

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    Adrienne Cousineau

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    Paige Grimard

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    Mayo Kurokawa

    All photos by Kokyat.

  • In The Studio With Justin Peck

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    Wednesday October 27, 2010 – New York City Ballet dancer and rising choreographer Justin Peck invited me to watch a rehearsal of the ballet he is creating for the upcoming performances of the New York Choreographic Institute (at the Miller Theatre @ Columbia University on November 5th and 6th) Above photo of Justin at work in the studio by Rosalie O’Connor, courtesy NYCI.

    Justin’s using music of Sufjan Stevens, a composer who inspired Justin’s most recent choreographic effort: the duet ENJOY YOUR RABBIT which he danced with NYCB principal Teresa Reichlen at Columbia Ballet Collaborative’s performances earlier this year. This duet, along with the ballet QUINTET which Justin created at the NY Choreographic Institute in Autumn 2009 have me thinking of Justin in terms of being a delivering rather than a promising choreographer.

    Justin is very fortunate to be dancing at New York City Ballet and to have access both to the dancers of the Company’s roster and to the students at SAB as his ballet-building colleagues. For this work, entitled TALES OF A CHINESE ZODIAC, he assembled a really fine group from SAB. I’ve seen some of these young dancers in class but it’s quite different to see them actually dancing choreographed patterns. Justin apologized for the absence of one key dancer, however the ‘substitutes’ were both perfectly fine so there was no feeling of anything missing. It was great to see the developing dance-personalities of these students today and to know that it won’t be long before we see some of them onstage at NYCB.

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    What strikes me most about Justin’s choreography is his clear and imaginative grasp of structure; I’ve seen enough aimless dance works to last a lifetime so it’s really pleasing to see how Justin creates patterns, breaking the ensemble into smaller groups and organizing passages of visual polyphony. Justin’s work is also clear in the Balanchinian theory of ‘seeing the music’; he catches the undercurrents of the score without being a slave to metronomic devices. This gives the work a fresh and vibrant appeal. 

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    The witty aspects of the choreography are not over-played; they seem to occur naturally and thus avoid any feeling of cuteness. In using the established vocabulary of dance, an imaginative choreographer will create original sentences from familiar words. Both here and in his Mendelssohn ballet, that is exactly what Justin is doing.

    It’s always fun to be in SAB‘s home at the Rose Building…you never know who might peek into the studio to see what’s happening. Today it was Albert Evans.

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    The dancers Justin is using for the Miller Theatre performances are not the same ones as shown in Ms. O’Connor’s photos which were taken at an earlier studio presentation of the work. The current cast has some standouts who I am sure will be noticed by the eagle-eyed fans at the Miller – always in search of new talent.

    Here is the announced programme for the Miller Theatre performances:

    TALES OF A CHINESE ZODIAC Choreography: Justin Peck Music: Sufjan Stevens  Danced by: Students from the School of American Ballet

    MANDALA Choreography: Darius Barnes  Music: Kyle Blaha  Dancers: Ashley Isaacs, Lauren Lovette, Erica Pereira, Kristen Segin; Zachary Catazaro, Chase Finlay, Allen Peiffer and Taylor Stanley

    DROPLET Choreography: Jessica Lang  Music: Jakub Ciupinski  Dancers: Wendy Whelan & Craig Hall

    FOR SASCHA  Choreography: Marco Goecke  Music: Matthew Fuerst*  Dancers: Marika Anderson, Gretchen Smith, Daniel Applebaum and Sean Suozzi.

    Three short works composed by Daniel Ott:

    FALLING  Choreography: Larry Keigwin  Dancers: Tiler Peck, Megan Fairchild, Antonio Carmena, Joaquin de Luz and Andrew Veyette

    SARA SOLO  Choreography: Christopher Wheeldon  Danced by Sara Mearns

    UNTITLED  Choreography: Alexei Ratmansky  Dancers:  Ashley Bouder, Ana Sophia Scheller, David Prottas and Christian Tworzyanski

    The performances are November 5th @ 8:00 PM and November 6th @ 3:00 PM and 8:00 PM.

    Ticket information: 212-854-7799

    The Miller Theatre is located at Broadway and 116th Street. Take the #1 train right to the door.

    Composer Matt Fuerst is a friend and former co-worker of mine. He composed the score for Albert Evans’ 2005 ballet BROKEN PROMISE at NYCB.

  • Cedar Lake @ The Joyce/Programme A

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    Tuesday October 26, 2010 – This first of two programmes by Cedar Lake Contemporary Ballet at The Joyce provided a tremendously satisfying evening of dance:

    Week 1 (October 26 – 31)
    Sunday, Again” by Jo Strømgren
    UNIT IN REACTION” by Jacopo Godani (NY PREMIERE)
    Hubbub” by Alexander Ekman (NY PREMIERE)

    Top photo: Jon Bond & Manuel Vignoulle in rehearsal for HUBBUB. View the Company roster here.

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    SUNDAY, AGAIN (Julieta Cervantes photo, above) is one of the pieces from Cedar Lake‘s repertoire that I most enjoy and admire and I’m very glad for the opportunity to see it again (twice…it’s on both Joyce programmes). This work by Jo Stromgren is set to music of J S Bach and features the entire Company dressed in tennis whites. The theme of the work is: what to do on yet another Sunday spent with the domestic partner.

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    Jason Kittelberger wants to go out and play badminton and his lover Acacia Schachte wants to stay in. This leads to the work’s tempestuous opening duet by these two magnificent dancers (above) in which the most edgy, risky aspects of dance partnering are displayed. The play of tension between the two dancers and the intensity of their individual personalities make this a thrilling start to the evening.

    From there the work evolves into an ensemble piece with the underlying idea of getting a badminton game going. This leads to shifting dynamics between men and women and to witty moments as when Harumi Tereyama draws a shuttlecock out of her mouth and teases Jubal Battisti with it. Later, Gwynenn Taylor-Young pats down Ana-Maria Lucaciu til she finds another shuttlecock. Between these and other duets, the dancers stride across the stage with racquets and nets at the ready. Finally the game begins: men vs women. But all too soon the afternoon’s over and the drapes are drawn.

    UNIT IN REACTION by Jacopo Godani is a New York premiere. Six of Cedar Lake’s ultra-powerful and fascinating dancers form the first of two alternating casts who will perform this work during the first week of the current season: Jon Bond, Jason Kittelberger, Oscar Ramos, Ana-Maria Lucaciu, Acacia Schachte and Ebony Williams. In a darkish setting, these dancers move with restless energy in a series of solos and duets which stretch the limits of physical movement. Acacia Schachte and Oscar Ramos seize their moments vibrantly and a duet for Ana-Maria and Ebony is especially potent. Jon Bond, one of the most thrillingly agile and sexy dancers ever to take the stage, is mind-boggling in his solo. Throughout this work with its pounding, fragmented percussion/industrial score, Jason Kittelberger is an ominous, forceful figure. The six dancers won screams and whoops from the packed house as each stepped forward for a bow at the end.

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    The New York premiere of Alexander Ekman’s HUBUB provided a truly witty and apt finale to the evening. To the relentless clicking of that antique, obsolete apparatus – the typewriter – the dancers, stripped down to the briefest and most revealing of costumes, each have their own metal-frame podium on which they stand, sit or hide under.

    In an endless, pretentious monologue the voice of dance criticism reads from the endless sheaf of typewritten pages, telling the viewer what the dance is all about, what it means and how to react to it. In fact, the narrator is saying next-to-nothing and merely stating the obvious in dressed-up language. 

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    Central to HUBBUB is a hysterically funny duet in which the thoughts of two dancers – Harumi Tereyama and Nickemil Concepcion – are heard in voice-over as they perform a pas de deux. Harumi and Nickemil danced this piece with dead-pan expressions as the audience laughed aloud. (Above: a rehearsal photo of the pair by Jubal Battisti).

    In the final movement of HUBBUB, the inner thoughts of the dancers are revealed – their mundane likes and dislikes and their secret habits. The music of Xavier Cugat had underlined the opening segments of HUBBUB but here we have one of the Chopin nocturnes, yet another imaginative stroke.

    The evening ended with a genuine standing ovation.

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    Is twenty-six year old Alexander Ekman the world’s cutest choreographer? He has my vote.

    So the evening was a great kickoff for the two-week Cedar Lake season. Allthough I have a special fondness for the Company’s home-theatre on 26th Street, the Joyce provides more seats – all occupied tonight – meaning that more people can see this troupe of dancers: some of the most potent and distinctive in Gotham. Ticket info here.

  • Master Class with Wendy Whelan

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    UPDATE: Erin Fogarty has sent me a couple of pictures she took of Wendy teaching.

    Monday October 25, 2010 – Sometimes I cannot believe my own good fortune. This evening I sat in a studio at Manhattan Movement and Arts Center watching the ballerina who has been driving me mad for the past few years with her matchless and unique interpretations of Balanchine, Robbins and Wheeldon – Wendy Whelan – giving a Master Class. If you had told me five years ago that I’d be doing this sort of thing I would have just laughed out loud.

    Wendy arrived – her forest-green leotard was so pretty – and the roomful of dancers came to order. There were four boys and approximately 16 girls in the class who seemed to be at various levels of accomplishment, including some professional dancers.

    I promised myself that I would watch the students rather than watching Wendy but this very soon proved to be impossible: when Wendy Whelan is in motion, you are simply drawn to her. It was great fun to observe people outside the studio looking in thru the windows to watch Ms. Whelan teaching.

    Wendy’s barre was quite interesting although I am not sure she was getting the music she wanted for each exercise. But she wisely didn’t waste time worrying about that; she simply adapted the steps to the rhythm being offered. Her descriptions of the flow of energy thru the body and of certain small details of technique to give a polished look helped me to understand what makes her such an intriguing dancer.

    The class went by so quickly and all of a sudden the dancers were in the center where Avi Scher and Mary Sell danced with the full-out breadth of style to Wendy’s beautiful combinations. Another girl who made a big impression was Amy Gilson; she stood out for the poise and clarity with which she danced.

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    I felt that Wendy would like to have gone on for another half-hour or so and I’m sure the dancers would have loved it but the time had flashed by and the pianist slipped away. MMAC is such a cool place – you always feel the energy of all the dance that is going on there whenever you visit; Erin Fogarty’s doing a great job…and she took Wendy’s barre.    

  • Emery LeCrone Prepares For MOVE! @ PS1

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    Kokyat and I watched choreographer Emery LeCrone working on two very different projects this past weekend. On Saturday we went to the studio at Barnard where she was creating a new piece for the Columbia Ballet Collaborative. And then on Sunday we found Emery again at MMAC where she was rehearsing a fairly large contingent of dancers for a Halloween weekend production which is part of MoMA PS1‘s series MOVE!

    MOVE! is a series of performance/installations at the Queens MoMA venue which bring together the realms of the arts and fashion. The current MOVE! project will take place at the museum on October 30th and 31st. Emery’s collaborators will be artist Tauba Auerbach and designers Flora Gill and Alexa Adams of Ohne Titel.

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    Emery’s piece for PS1 will be performed in a small space, so she blocked off part of the studio so that the dancers would have an idea of what to expect. Click on the above image to see Kat Carter, Erin Arbuckle, Caitlin Dieck, Stephanie Eagle, Ashley Matthews, Jen Barrer-Gall, Kelsey Coventry, Nicole Cerutti, Emery LeCrone, Sakiko Yamagata and Rebecca Azenberg. (Erin, Jen and Nicole were in the original cast of Emery’s FIVE SONGS FOR PIANO at CBC, and Erin and Rebecca are in Emery’s current CBC project). A twelfth dancer, Maddie Deavenport, will also be in the PS1 production.

    At PS1 the girls will perform Emery’s ten-minute piece 6 times each day, every hour on the hour. There won’t be any music and they will be sharing the space with their audience. Emery came into the rehearsal with a whole range of ideas and she immediately started whipping up a piece that is entertaining, amusing, mysterious and that will suit the venue really well.

    Kokyat and I had one of our most purely enjoyable studio visits ever watching this work come together. It was fascinating to see how quickly Emery worked and how fast the piece developed. The dancers jumped right in; they took each of Emery’s visual motifs and expanded on them, bringing their own personalities into the mix.

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    Emery uses the dancers’ personal attributes as part of the look…their hair became an expressive device. Erin, Kat and Stephanie, above…

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    …and Caitlin, Ashley & Jen.

    Kokyat circled the room and came up with these images; now it remains to see how it will look when meshed with what the artist and designers have created. We plan to go out to Queens on Halloween and hopefully be able to photograph the finished performance. Meanwhile, just watching Emery and the girls in the studio was pretty much a performance in its own right.

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    Stephanie, Kat, Ashley and Caitlin

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    Erin, Kat & Stephanie

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    Rebecca and Kelsey in the foreground

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    Jen and Stephanie in the foreground

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  • Barber/Stravinsky/LUCE NASCOSTA @ NYCB

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    Wednesday September 29, 2010 – Above: a Paul Kolnik photo of Craig Hall and Ashley Bouder in Mauro Bigonzetti’s LUCE NASCOSTA, the closing work on tonight’s programme at New York City Ballet. (Craig unfortunately did not dance tonight though he was announced.)

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    A programme change brought a repeat of Peter Martins’ BARBER VIOLIN CONCERTO – one of his best ballets – in place of his charming but less profound GRAZIOSO. Portrait of composer Samuel Barber, above. The excellent cast for the BARBER – Sara Mearns, Megan Fairchild, Charles Askegard and Jared Angle – repeated their roles from the season premiere which I wrote about here. Tonight’s performance found all four dancers on top form and violin soloist Arturo Delmoni and conductor Faycal Karoui giving an especially moving and – in the final movement: edgy and witty – performance of the score. Kokyat was thrilled with Sara Mearns’ luscious dancing, and he and I both thought Megan Fairchild reminded us of the inimitable Rachel Berman, the great Paul Taylor dancer we met last year at the NYIBC

    Balanchine’s STRAVINSKY VIOLIN CONCERTO was likewise given an excellent musical rendering by violinist Kurt Nikkanen and Maestro Karoui. During this Fall season we have seen four fascinating ballerinas in this ballet: Sterling Hyltin and Janie Taylor shared one role, and Maria Kowroski and Rebecca Krohn shared the other. Each seemed perfect in her own way, and thankfully we don’t need to choose who’s better or best: we can simply relish the wealth of star-power on display. Tonight Rebecca danced with Sebastien Marcovici and I wondered if they would develop the same electric current that passed between Rebecca and Amar Ramasar at the earlier performance. They did, making for a exciting rendition of their duet. Janie Taylor is already digging deeper into her role – she was wonderful in her debut in this ballet but she’s finding it even more congenial as she repeats it: small nuances of gesture and expression making the ballet more her’s. Sebastien and Ask laCour danced powerfully and partnered the girls superbly in the demanding duets.

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    The Santiago Calatrava setting for LUCE NASCOSTA looks stunning, and the score by Bruno Moretti continues to reveal entrancing facets on each hearing. The sexy costumes (bare chested, black-trousered boys and the girls in bewitching black-ruffled skirts) add to the appeal of this dark yet curiously romantic (in the second half) ballet. An injury to Gonzalo Garcia (hopefully not serious) caused his original role to be danced by Adrian Danchig-Waring tonight, and the unannounced absence of Craig Hall necessitated further changes: Sam Greenberg appeared in the ensembles as did David Prottas who danced very well in the duet with Sean Suozzi; and Christian Tworzyanski took over one partnered passage with Tiler Peck. It also seemed to me that Georgina Pazcoguin and Vincent Paradiso had expanded opportunities which is fine with me since they are two of the Company’s most striking dancers.

    Tiler Peck and Adrian Danching-Waring open the ballet, drawing us into the the mysterious world of this lost tribe. Their opening passage is danced in silence; Tiler’s dancing is so mysterious and intense that we are immediately in her thrall. One motif that threads thru the choreography is of the girls in a rather awkward balance on both pointes which they must sustain. Tiler stayed strikingly still as Adrian moved around her.   

    Adrian was nothing short of magnificent: his powerful physique and the intensity of his persona are riveting. In his duet with the gorgeous Tess Reichlen they were smoulderingly powerful. Maria Kowroski continued her top-notch season with a stunning perfomance; her duet with Amar Ramasar was jaw-dropping in its physicality and in the allure of these two spectacular dancers – people were screaming for them at the curtain calls.

    Georgina Pazcoguin and Vincent Paradiso are such remarkably communicative personalities onstage and this ballet gives them the perfect opportunity to display both their physicality and their sense of risk-taking while meanwhile simply savoring the erotic undercurrents they bring to their duet passages.

    The solos for Teresa Reichlen and Tyler Angle show us these two beautiful dancers at their most charismatic; Ashley Bouder & Jon Stafford in their duet bring a vivid tension to the partnering which is complex, angular and steamy all at once. 

    Maya Collins looks so great in this ballet, always catching my eye. I wish Ana Sophia Scheller had more to do here – I’d love to see one of Mr. Bigonzetti’s duets crafted for her and Sean Suozzi for example. The two blonde beauties Lydia Wellington and Sarah Villwock and the smooth-moving, exotic-looing Sam Greenberg were all excellent and I hope they will each have more opportunities to step out in the near future.

    As LUCE NASCOSTA ends, the girls glide across the floor into the arms of their men – this striking motif seemed especially impressive tonight. As the music fades away, I felt I was awakening from a dream that I did not want to end.

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    Walking to the train after the performance, Kokyat captured this image which seems like a tribute to Santiago Calatrava’s floating disc and to LUCE NASCOSTA.   

  • Young People Committing Suicide

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    It’s so pleasant to sit here blogging about dance, music, opera and my adventures in Gotham; it’s nice to feel so involved in the world that I write about and to have my wonderful friend Kokyat preserving our experiences with his camera. In general I try to steer clear of politics and religion on my blog, partly because they are such devisive topics and I am so very tired of divisiveness. Also there are countless sites where you can go for every political and religious perspective and where you can join in discussions of those topics and rant, rage or despair to your heart”s content; I prefer my blog to be an oasis of beauty and reason.

    But in recent weeks there has been an alarming spate of suicides among young people related to their sexual identity, whether real or as perceived by their peers. Columnist Dan Savage has contributed a video entitled It Gets Better which urges young gay people not to despair, to stay the course and look forward to a time when they can emerge from the shadow-world of mental and physical abuse, embrace the world in all its diverse beauty and – hopefully – live happily ever after.

    Dancer/choreographer Bennyroyce Royon has made a short film that young people should watch.

    Growing up in a tiny town in the 60s and early 70s, I was terrified. I was so different from everyone else. Even once I began to understand what my ‘problem’ was there were no answers, and no one to talk about it with. In this situation you are virtually alone. 

    Back then, on so many days, I pretended to be sick to stay home from school – and in fact, my fears did make me physically ill so many times. My parents were respected members of the community and my older brother (a rebel-without-a-cause type, but OK since he was straight) and my sister were very popular with their peers. I realize that if not for these facts I would have had an even harder time – I remember once when I was being harrassed an older student passed by and said, “Hey, he’s Jeff Gardner’s little brother…leave him alone!”  I suppose if I’d had the courage to tell my brother what was happening to me, he would have beat the crap out of my assailants for me and maybe even pulled his jack-knife on them. But how could I talk to him about my feelings? How could I talk to anyone?

    Dan Savage’s video suggests the possibility that the troubled small-town kids of today might find ways of reaching out to older gay people via the internet. This is a great idea however it is also fraught with risks: if parents find their kids are corresponding with homosexuals – or have even watched Dan’s video –  it will make life for these kids even worse. And also, how would an adolescent in rural Texas or a teenaged girl in Utah be able to distinguish between someone genuinely wanting to help them and someone who just wants to get into their pants, or blackmail them?

    When I attended the vigil last year for the young people murdered at a gay center in Tel Aviv I was so moved by the plight of some of our local gay youth who told their own stories of being bullied and disowned. Luckily for them here in a major city there are places you can go, people you can turn to. In Smalltown USA there are no such options. 

    The Obama administration, after hood-winking gays into supporting their ‘Change You Can Believe In’ pep talks, continue dancing around gay issues, tossing crumbs from the table here and there and trying to appear sympathetic to gays in such matters as DADT and DOMA while avoiding taking any real leadership position on either matter, and filing court briefs behind the scenes that seem aimed at maintaining the status quo.

    I have sometimes asked my sister if she knows of young people in our little hometown (she still lives there) who might be in need of someone to talk to about their sexual orientation. Of course you can just imagine the reaction of parents when they hear that some faggot from the Big City wants to talk to their kid.

    Of course another facet of all this is the tacit affirmation that staying in the closet is the best policy; athletes, actors, political figures, dancers, musicians, religious leaders – people who might serve as powerful role models for young gays everywhere – continue to play it straight or at the very least play it ambiguous out of fear of having their careers de-railed by an admission of their sexuality. One newscaster who interviewed the parents of a recent teen-suicide has never stood up and said that he’s gay, though it was not all that long ago that you’d see him around the NY club scene. And he had a fling with my ex. So for all his ‘concern’ he seems to lack the basic courage to be himself and thus maybe help – however indirectly – a young person somewhere in Middle America who is struggling with an incredible burden.

    It was in fact only thru the love and understanding of two people – Jeanette and Ann(e) Olga – that I never took the pills I had stashed away and that I am here today to look back on it all and thank them for keeping me alive, even though they didn’t know that that is exactly what they were doing.

    I have always viewed life as a journey and this song – which I’ve always loved and which I’ve been listening to a lot lately – always feels like it was written just for me. Maybe young people will listen to it and come to realize that life in all its beauty and mystery lies ahead of them:

    “In my early years I hid my tears
    And passed my days alone
    Adrift on an ocean of loneliness
    My dreams like nets were thrown
    To catch the love that I’d heard of
    In books and films and songs
    Now there’s a world of illusion and fantasy
    In the place where the real world belongs

    Still I look for the beauty in songs…
    To fill my head and lead me on
    Though my dreams have come up torn and anchored
    As many times as love has come and gone

    To those gentle ones my memory runs
    To the laughter we shared at the meetings
    I filled their kitchens and living rooms
    With my schemes and my broken dreams
    It was never clear how far or near
    The gates to my citadel lay…
    They were cutting from stone some dreams of their own
    But they listened to mine anyway

    I’m not sure what I’m trying to say
    It could be I’ve lost my way
    Though I keep a watch over the distance
    Heaven’s no closer than it was yesterday

    And the angels are older
    They know not to wait up for the sun
    They look over my shoulder
    At the maps and the drawings of the journey I’ve begun

    Now the distance leads me farther on
    Though the reasons I once had are gone
    I keep thinking I’ll find what I’m looking for
    In the sand beneath the dawn

    But the angels are older
    They can see that the sun’s setting fast
    They look over my shoulder
    At the vision of paradise, the changing light of the past
    And they lay down behind me
    To sleep beside the road til the morning has come
    Where they know they will find me
    With my maps and my faith in the distance
    Moving farther on”

  • Ballet Class with Deborah Wingert

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    Wednesday September 29, 2010 – How I wish I could have been taking class with Deborah Wingert this morning at Manhattan Movement and Arts Center instead of just watching. Throughout the 90-minute class I was constantly envying the dancers and wishing that this was how I had spent my life rather than in a cubicle or on the retail floor.

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    I had watched Deborah Wingert, formerly of New York City Ballet, teach class at the New York International Ballet Competition last summer and I thought 1) she is gorgeous and 2) she gives a really good class. She has a quick eye for details, gives corrections in an authoritative manner and calls out praise when she sees something well-executed. In imparting her technical advice to the students, Deborah uses imagery, both humorous and poetic. She will show the students how bad a pose or move looks when poorly executed and then show them how to make it look beautiful.  Her knack for finding just the isolated element in a flow of movement that is preventing the student from making the best possible effect seems instinctive, though clearly it was honed thru years of studying, dancing and working with George Balanchine and Jerome Robbins. She often refers to these two men in her detailed descriptions of how something should look but it’s not mere name-dropping; it’s almost as if she was passing on things the two choreographers had just told her a day or two ago.

    Enhancing the atmosphere of the studio at every moment was the de luxe musicianship of pianist Mijin Jung. Mijin’s playing always seemed to have just the right tempo and her choices of the melodies as well as her excellent technique made her playing seem like a labor of love.

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    The students were all very fine dancers, including two girls we’ve met previously at Miro Magloire’s New Chamber Ballet: Maddie Deavenport and Lauren Toole. One amazing aspect of watching dancers of this level in class is hearing the teacher call out the next combination: “Let’s do this-this-this-this-this-and finish with this, then repeat on the other side.” Immediately the students dance it out while I am still mentally at the first “Let’s do this…” I suppose after a while these things become second-nature but it always amuses and baffles me how quickly they absorb.

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    The class flew by and all-too-soon the dancers were applauding the excellent pianist Mijin Jung and Deborah came over to talk with Kokyat and me; up close the white-blonde woman with the phenomenally green eyes becomes even more striking; her speaking voice (both in class and in conversation) is melodious and her tiny injections of wit – and her references to people and ballets out of the past – make her so intriguing to talk with. Coming out into the lobby space, we encountered two Balanchine legends – Allegra Kent and John Clifford – and were introduced to them by Deborah.

    Kokyat spent the 90 minutes padding around the studio to catch everything as best he could; the dancers were very gracious about this intrusion into their routine. We’ll have his photos here in the next couple of days. The pictures with this article are from my little Lumix. 

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    Kokyat did me a special favor and immediately processed and sent me this picture of Deborah and Allegra Kent taken right after Deborah’s class today. Click the image to enlarge.

    Deborah Wingert teaches open class at MMAC (on West 60th Street) on Wednesdays at 10:30 AM now thru December; I urge all my ballet-dancing young friends and acquaintances to take class from her. If I was physically able, I’d be the first person at her barre every Wednesday.

  • Violin Concerti @ New York City Ballet

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    Saturday September 25, 2010 evening – Ballets set to three great 20th century violin concertos were presented tonight at New York City Ballet. This excellent programme was one of the most enjoyable – and impressively danced – evenings in recent seasons. Faycal Karoui was on the podium and three very fine violinists took turns, playing works of Barber, Prokofiev and Stravinsky.

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    Arturo Delmoni (above) played the gorgeous Samuel Barber piece. Read about this concerto’s troubled ‘birth’ here – it’s a great story out of recent musical history. Mr. Delmoni played it gorgeously tonight and the orchestra – save for an errant oboe – sounded wonderful.

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    A Paul Kolnik photo from BARBER VIOLIN CONCERTO above, with this evening’s cast: Charles Askegard, Sara Mearns, Jared Angle and Megan Fairchild.

    When Sara Mearns stepped into the spotlight I just knew she was going to give an astonishing performance and she certainly did: her dancing had a great sense of freedom and expansive lyricism in the opening movement where she would step into whirling arabesques which she sustained with a floated feeling. Charles Askegard was yet again the ideally attentive cavalier: always right there at the right moment. They look super together. 

    The ‘modern dance’ roles in this ballet were originally created on Kate Johnson and David Parsons when they were members of Paul Taylor Dance Company. It would be fun sometime to see current dancers from the Taylor company in this Peter Martins work; I’d love to see Aileen Roehl and either Michael Trusnovec or Francisco Graciano in this ballet. But NYCB’s Megan Fairchild and Jared Angle are so fine in these roles that we really needn’t look elsewhere. They dance bare-footed, something you don’t often see at NYCB.

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    Above: tonight’s cast in a Paul Kolnik photo. In the second movement, Jared Angle’s tortured soul is becalmed by Sara Mearns – up to a point. Then suddenly the tension shifts and it is Sara being subjugated by Jared; what a frisson when her hair comes down! Jared carries her off to some unknown fate and we never see them again.

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    What a terrific performance Megan Fairchild gave – her Henry Leutwyler portrait above. I’ve seen her in this ballet before but she’s totally upped the level of her performance both as dancer and presence. It’s quite a leap from being a perfect Aurora to this role which has built-in elements of humour but is performed with a straight face. Megan nailed it and in the closing allegro section she pestered Charles Askegard to perfection; the audience were laughing but the dancers were dead serious. At the end she clambers up onto Chuck’s shoulders, he flips her and drops her to the floor – a tricky passage, expertly timed by the dancers today. Watching Megan Fairchild’s performance I thought I’d love to see her in more of the Taylor rep.  

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    Above: Gonzalo Garcia photographed by Kokyat while dancing with MORPHOSES in Central Park last summer. Gonzalo has chalked up one success after another since joining NYC Ballet but I tend to think that his performance in Jerome Robbins OPUS 19/THE DREAMER is one of those perfect matchings of dancer to role. For all the passion and intensity of his dancing here, Gonzalo always keeps that slight detachment from reality that sets the dreamer apart. A beautifully wrought and expressive performance. His muse tonight was Janie Taylor whose sense of mystery plays so well into this ballet, for we do not know if she is real or simply a figure in the dreamer’s imagination. Janie danced beautifully – her third role in two weeks – and she is such a captivating dancer to watch. Excellent dancing by the corps made this performance of OPUS 19 especially pleasing, and violinist Lydia Hong (I cannot find a photo of her!) played with poetic clarity. 

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    Kurt Nikkanen played the Stravinsky with authority, an ideal mixture of tension and flow, and touches of wit and of gypsy bravado.

    Maria

    In the Stravinsky, Maria Kowroski (above, in Henry Leutwyler’s photo) gave a sensational performance, remarkable for the clarity of her technique, her sweepingly high extensions, wonderfully supple torso and a quiet sense of joy in dancing Balanchine’s steps in the final movement. In her pas de deux with Sebastien Marcovici, the two dancers kept a current of dramatic energy flowing back and forth. Sebastien looks great – a powerful force onstage – and he and Maria created a whole portfolio of memorable black-and-white Balanchine images in that single duet. 

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    Sterling Hyltin (photo by Jeff Gurwin) looks so delectably lovely and youthful when the curtain rises; when she starts to dance it’s with a real feeling of authority. She has worked up a superb interpretation of this role, not only in her footwork and timing but with facial expressions which transmit both the nuances of the music and her underlying pleasure in dancing Balanchine’s phrases. Ask LaCour towers over Sterling like a protective prince; the beautiful moment when they simply stand together and Ask, with a sweeping gesture, shows Sterling the world before her, was especially poignant tonight.

    Sterling and Maria exchanged smiles as the finale progressed and the whole Company seemed to be on a thriving mutual wavelength of camaraderie. The individual performances by the corps dancers gave me a lot to watch and as always the watching paid off. Wei was especially happy to see Faye Arthurs dancing in a duet passage with Sebastien right after their first entrance.

    Maria, Sterling, Sebastien, Ask and Ms. Hong were enthusiastically applauded and came out for an extra bow at the end of this wonderfully satisfying evening.  

    In a dance-related story, an exhibit of costumes from the Ballets Russes opens in London. I hope this collection will eventually be shown in New York City.