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Food for Thought – Fall for Dance Program 1

"Arden Court," “Middle Duet,'” “Varnam,'” "Deuce Coupe"
Paul Taylor Dance Company/Kirov Ballet/Shantala Shivalingappa/Juilliard School
City Center
New York, NY
September 27, 2007

by Leigh Witchel
copyright © 2007 by Leigh Witchel

City Center kicked off its Fall for Dance festival with a fine program, and one hell of a value for the $10 ticket.  The Paul Taylor Dance Company opened with a tight performance of “Arden Court.” It’s a great curtain raiser – baroque music, great choreography, shirtless Taylor men, what’s not to like?   The majority of the cast is old hands by now but one of the newest members, Francisco Graciano, turned in a performance sharp with promise.  Orion Duckstein and Amy Young danced the central roles originated by Elie Chaib and Carolyn Adams. Young, a tall dancer where Adams was not, pitched her neck forward seemingly to shorten herself into the role.

One for Three at Columbia

New Ballet

Choreography by Alison Chase, Amanda Miller, and Luca Veggetti

Columbia University, Miller Theatre

New York, NY

September 28, 2007

by Tom Phillips

Copyright 2007 by Tom Phillips

For an evening of new ballets, one out of three is not bad, and that’s what my scorecard showed at the end of the Miller Theatre’s much-buzzed-about triple world premiere of new dances and new music at Columbia University. Amanda Miller’s “dogwood” never bloomed, and Pilobolus founder Alison Chase’s “Sweet Alchemy” failed to transform a half-dozen New York City Ballet dancers into pretzels or anything else. But Italian choreographer Luca Veggetti made the most of four powerful young dancers and a ripping, reverberating cello solo. His “Four/Voice” is worth seeing and hearing again.

Ballet in Commuting Distance

Richmond Ballet on Tour
Alden Theatre
McLean, Virginia
September 22, 2007

by George Jackson
copyright 2007 by George Jackson

The focus this season will be on regional ballet. Kennedy Center has a week coming up in June it calls Ballet Across America. Nine companies from around the country – 3 per program – will be featured, but the term “regional” is cautiously skirted. The Dance Critics Association, which will convene during that run, uses the word but in quotes followed by a question mark. So far, no one has even whispered “provincial”.

Weekly Updates

Don't forget to check our Columns (links in far right sidebar ).  This week's updated columns:

Dale Brauner's What's On This Week A calendar of all dance performances we can find in New York City.

Lisa Traiger has a review of the seasoner opener at D.C.'s Dance Place:

War Dances at Dance Place Season Opener 

Starting Out

“Morphoses: The Wheeldon Company”
Sadler's Wells Theatre
London, England
19 – 23 September 2007

by John Percival
copyright 2007 by John Percival

I think I never saw a new company hailed with so much hype and advance publicity as Christopher Wheeldon's. And large audiences applauded enthusiastically the nights I was present. Yet the first reviews have been very mixed, suggesting that he still has a lot to learn about how to use his talent and other people's goodwill.

Performance Plus

Dakshina / Daniel Phoenix Singh Dance Company

Woodrow Wilson Plaza, Federal Triangle

Washington, DC

September 20, 2007

by George Jackson

copyright 2007 by George Jackson

A title by Edwin Denby — “Dancers, Buildings and People in the Streets” — calls up the components of the outdoor event I attended on a comfortable day in early autumn. Daniel Singh’s group was performing. The dancers were an American urban assortment of Asian, African and European heritage. Their training showed classical influences (from India’s traditions and ballet) but also contemporary practices (modern dance and post-modern). The surrounding buildings, Washington's governmental granite and concrete commercial structures, weren’t tall but looked ever so solid. Within that architectural mass, both the dancers and their audience seemed fragile and mortal. Some of the people in the plaza had come not only to look but also to lunch (tables and chairs were provided), some simply looked for a while and still others glanced at the performers in passing. Office workers probably predominated but there were also shoppers, tourists and a scattering of street people.

Grief — A Good Grief

“Kommer”
Kassys
Yerba Buena Center for the Arts
San Francisco, CA
September 14, 2007

by Rita Felciano
copyright © 2007 Rita Felciano

A friend had suggested that the Dutch theater company Kassys’ “Kommer” (Sorrow) might be of interest to a dance person because so much of their work is based on movement, not on language. She was right even though  this is a drama in the first half, a film in the second. But “Kommer” is choreographed at least as much as it is directed.

Running on Incense – Martha Graham Dance Company Program B

"Cave of the Heart," “Embattled Garden,'” "Acts of Light"
Martha Graham Dance Company
Joyce Theater
New York, NY
September 13, 2007

by Leigh Witchel
copyright © 2007 by Leigh Witchel

History and performance are always at war; we watched one of the skirmishes on Thursday night when the Graham company opened their second repertory program. “Cave of the Heart,” Graham’s version of the legend of Medea, didn’t pull itself together until Medea herself (Miki Orihara) took the stage for her solos.

Martha Graham Season Opens

“Lamentation Variations,” “Embattled Garden,” “Night Journey”

Martha Graham Dance Company

Joyce Theater

New York, NY

September 11, 2007

by Susan Reiter

copyright © 2007 Susan Reiter

They got right down to business on the opening night of the Martha Graham Dance Company’s first New York season in two and a half years. With a gala scheduled for the second week, this was not an evening of glitz but a serious, purposeful introduction to the somewhat streamlined, clearly back-in-business troupe that has weathered considerable financial (and, previously, legal) storms. The roster includes most of the dancers promently featured the last time the troupe performed — with the notable exception of the glorious Fang-Yi Sheu.

Unfair to Alvin

Alvin Ailey American Dance Theater
Sadler's Wells
London, England
4 – 15 September, 2007

by John Percival
copyright 2007 by John Percival

At least you saw some good dancing, was one friend's comment when I moaned about the London season of Alvin Ailey American Dance Theatre, but I don't think it was half as good as it should have been. There were three programmes spread over two weeks at Sadler's Wells, after which two of the shows toured to seven regional theatres. Several of our present reviewers did not like some of the works given, but praised the performers. However, remembering how these ballets were danced years ago, I'd say the opposite, namely that although most of the company can do steps well enough, they don't get the feeling or the depth. And sadly that's true of quite a few companies nowadays.