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Kneading Drama

“Like Water for Chocolate”
American Ballet Theatre
Metropolitan Opera House
New York, NY
July 16, 2024 by Marianne Adams

copyright © 2024 by Marianne Adams

American Ballet Theatre ending its five-week season at the Metropolitan Opera House with Christopher Wheeldon’s “Like Water for Chocolate” seemed like an emblematic move committed to its determined new identity – a company of story ballets, new world-class choreographies and solid, home-grown dancing talent. It is an encouraging direction for the troupe, even if the ballet itself was not the most scrumptious dish ABT had on offer.

Photo of Skylar Brandt and Luciana Paris. Photo © by Rosalie O’Connor.

Start With a Blank Page

“Woolf Works”
American Ballet Theatre
Metropolitan Opera House
New York, NY
June 26, 2024

by Marianne Adams
copyright © 2024 by Marianne Adams

For its second week of the 2024 New York summer season, American Ballet Theatre stuck to the literary works theme, but with an unexpectedly modern, multi award-winning twist.  Created in 2015, Wayne McGregor’s “Woolf Works” is everything one would expect from him – highly physical, seemingly stripped-down yet loaded with meaning and detail, and pushing the boundaries of traditional ballet.  But it was also more than that – a deconstructed exploration of key themes of the underlying writings, presented in a novel way by both the choreographer and the dancers new to his movement lexicon.

Photo of Devon Teuscher and James Whiteside in Act 3 of “Woolf Works.” Photo © Marty Sohl.

All That Glitters

“Jewels”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 15, 2024

by Denise Sum
copyright © 2024 by Denise Sum

It has been 18 years since the National Ballet of Canada performed George Balanchine’s “Jewels”, considered the first abstract three act ballet, in its entirety (they performed “Rubies” as part of a triple bill in 2016). As such, this run introduced a new generation of dancers to this popular work. This run features many exciting (and some less successful) debuts. Indeed, of the ballet’s 9 leading roles, 8 were debuts on opening night. With its varied and complimentary moods and styles, “Jewels” is one of the most satisfying and complete ballet going experiences.

Donald Thom and Tina Pereira in "Emeralds" from "Jewels". Photo by Karolina Kuras. 

Going to Extremes

"Runes", Post Meridian", "Brandenburgs"
Paul Taylor Dance Company
Joyce Theater
New York, New York
June 26, 2024

by Mary Cargill
copyright © 2024 by Mary Cargill

Marketing has christened the Joyce’s week-long Taylor season as “Extreme Taylor”, a perfectly accurate designation since all of Taylor’s works are extreme challenges, requiring both physical strength and an internal fierceness strong enough to transport an audience. This program highlighted Taylor’s variety; “Runes” (1975) showed his fascination with communal rituals, the rarely seen “Post Meridian” (1965) featured his sly and sometimes oblique humor, and “Brandenburgs” (1988) celebrated his classical exuberance and each dance had thrilling performers.

Paul Taylor dancers in "Rune" photo © Steven Pisano

Flamenco Depths, in Equal Measure

“Equilibrio”
Flamenco Vivo Carlota Santana
The Joyce Theater
New York, NY
June 19, 2024

by Marianne Adams
copyright © 2024 by Marianne Adams

It can be too easy to forget just how many elements make up the tapestry of the flamenco genre, but Flamenco Vivo Carlota Santana company’s performance of Emilio Ochando’s new “Equilibrio” expertly brought the various strands into focus.  Conceived originally as a solo performance in 2020, Ochando expanded the COVID-19 pandemic creation to the whole company.  Infused with a few modern twists and featuring many props, the evening, accompanied by vocals, and keyboard, guitar and even cello as musical instruments, showcased the many aspects of the art form, and its many ways of telling stories.

Photo of the dancers of Flamenco Vivo Carlota Santana in “Equilibrio.” Photo © by Steven Pisano

“Onegin,” By the Book

“Onegin”
American Ballet Theatre
Metropolitan Opera House
New York, NY
June 18 and June 19 (matinee), 2024

by Marianne Adams
copyright © 2024 by Marianne Adams

American Ballet Theatre boldly opened its 2024 season at the Metropolitan Opera House with John Cranko’s “Onegin.” With somewhat last-minute casting changes, the opening night honors fell on Christine Shevchenko and Cory Stearns as Tatiana and Onegin respectively, who danced with dedication; though it was the next day’s matinee performers, also a substitute cast, Chloe Misseldine and Thomas Forster, who brought the depth of Alexander Pushkin’s iconic characters to life.

Photo of Christine Shevchenko and Cory Stearns in Act 3 of “Onegin.” Photo © by Rosalie O’Connor

A Star is Born

“Don Quixote”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
June 1, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The beloved classic “Don Quixote” has not been seen in Toronto since 2011. At that time, it was the Petipa/Gorsky/Beriozoff version, which was fun but perhaps in need of a refresh. Prior to that, in 2007, the company performed the George Balanchine one act version, which is a different work entirely as it is centred more on the title character and his relationship to his ideal woman or Dulcinea. In securing Carlos Acosta’s production (created in 2022 for Birmingham Royal Ballet), the National Ballet of Canada has the privilege of being the first North American company to perform this updated version – a dazzling showpiece with the ability to capture the interest of balletomanes and new audience members alike. This ballet felt similar to Rudolf Nureyev’s “Sleeping Beauty” which he brought to the NBoC in 1972 – the company was galvanized by the presence of an international star whose production provided a vessel within which the dancers could really grow. In watching the opening night performance of Acosta’s “Don Quixote”, one could really feel the excitement of the dancers collaborating with such a renowned artist. 

Genevieve Penn Nabity with Artists of the Ballet in "Don Quixote". Photo by Karolina Kuras. 

All The Colors Fit For Stage

“Law of Mosaics,” “This Bitter Earth,” “Herman Schmerman Pas de Deux,” “Love Letter (on shuffle)”
New York City Ballet
David H. Koch Theater
New York, NY
May 23, 2024

by Marianne Adams
copyright © 2024 by Marianne Adams

In its second of two programs featuring works by contemporary choreographers, New York City Ballet dazzled and dazed, leaning heavily on the quality of its dancers to bring forward the more vibrant elements of the presented ballets’ expressive palettes, both physical and emotional. The best of the evening – the absolutely devastating “This Bitter Earth” and the energetic “Herman Schmerman” - were bookended by the less inspiring Pam Tanowitz’s ballet “Law of Mosaics” and Kyle Abraham’s “Love Letter (on shuffle),” both 2022 creations. Still, even those two works had their memorable moments thanks to the cast.

Photo of Adrian Danchig-Waring and Mira Nadon in Pam Tanowitz’s “Law of Mosaics.” Photo © Erin Baiano

Sumer is icumen in

"A Midsummer Night's Dream"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
May 29, 2024

by Mary Cargill
copyright © 2024 by Mary Cargill

Though it is not quite as inevitable as “Nutcracker” at Christmas, “A Midsummer Night’s Dream” often means summer for the New York City Ballet, and it returned this year for a week of magic. Its structure does have some issues—why is Titania off in her grotto dancing with a boy toy, what does that magic flower actually do, and why are the dancers parading around so endlessly in Act II, only to leave as the entertainment starts?  But the choreographic high points are so very high, and the settings and costumes are so very beautiful that these questions don’t really matter.  As always, the many children made delightful, confident, and well-rehearsed little bugs, fluttering through the shifting, shimmering shapes of Balanchine’s choreography.  Unity Phelan and Joseph Gordon were the warring couple, and there were several debuts, including Ashley Bouder as the scorned Helena, an unexpectedly small role for the long-time principal.

SAB students in "A  Midsummer Night's Dream" photo © Paul Kolnik.

Those Were the Days

"Dances at a Gathering", "Brahms-Schoenberg Quartet"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
May 12, 2024

by Mary Cargill
copyright © 2024 by Mary Cargill

The double bill of Jerome Robbins’ “Dances at a Gathering” and Balanchine’s “Brahms-Schoenberg Quartet” was a glimpse back at an idealized European past, where elegant youths wore colorful chiffon while dancing to Chopin and, in an idealized Vienna, beautiful and mysterious women enticed stalwart men while luscious Gypsies cavorted on the green.  Both ballets can seem long and occasionally overly sentimental, but these fresh and lively casts gave committed and moving performances.

Indiana Woodward, Emilie Gerrity, and Dominika Afanasenkov in "Dances at a Gathering" photo © Erin Baiano

Pretty in Red, White, Black, and Yellow

"Rubies", "Dig the Say", "Underneath, There is Light"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
May 2, 2024

by Mary Cargill
copyright © 2024 by Mary Cargill

New York City Ballet’s Spring gala had one Balanchine, two premieres, three brief speeches, and no intermission and clocked in at a very efficient one and a half hours.  It opened with sparkling version of “Rubies”, in all its bright red glory, danced by the veterans Megan Fairchild and Anthony Huxley, with the phenomenally talented Mira Nadon as their tall cohort.

Megan Fairchild and Anthony Huxley in "Rubies" photo © Erin Baiano.

Back to the Future

"Bourrée Fantasque", "The Steadfast Tin Soldier", "Errante", "Symphony in C"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
April 24, 2024

by Mary Cargill
copyright © 2024 by Mary Cargill

The New York City Ballet opened it’s 75th Anniversary Spring season, subtitled “The Future”, with an all-Balanchine program of four ballets whose dates ranged from 1940’s (“Symphony in C”, 1947 and Bourrée Fantasque, 1949 ) to 1975 (“The Steadfast Tin Soldier” and “Errante”, the new name for “Tzigane”).  The future, it seems, is a moving target. But the ballets looked well-rehearsed and vibrant, auguring well for whatever the future is.

Emilie Gerrity and Chun Wai Chan in "Symphony in C" photo © Eric Baiano

A Trifecta of Premieres

"UtopiVerse", "islands", "Suite en Blanc"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 20, 2024

by Denise Sum
copyright © 2024 by Denise Sum

The National Ballet of Canada’s winter triple bill featured three exciting premieres: a world premiere, a North American premiere and a Canadian premiere. Two of the ballets, “UtopiVerse” and "islands”, were in a contemporary style. In contrast, Serge Lifar’s 1943 showpiece “Suite en Blanc” provided the tutus, pointe shoes and classical bravura that many expect from a NBoC performance. 

Emma Ouellet and Heather Ogden in "islands". Photo by Karolina Kuras. 

Dancing in Wonderland

“Alice’s Adventures in Wonderland”
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 6, 2024

by Denise Sum
copyright © 2024 by Denise Sum

Exactly five years after its last run, Christopher Wheeldon’s hugely successful and family friendly “Alice’s Adventures in Wonderland” was brought back to the Toronto stage, scheduled to coincide with March break. The strategy paid off as the run was completely sold out – something that does not generally happen unless the ballet starts with “Swan” and ends with “Lake”. Thirteen years after its world premiere in London by The Royal Ballet, this full length work remains as striking, comical and playful as ever. It still feels very much like a ballet for contemporary sensibilities. “Alice’s Adventures in Wonderland” blends clever wit and impressive special effects while maintaining a fast pace to cater to short attention spans. It is not surprising that it is now performed around the world, most recently by the Australian Ballet and the Bavarian State Ballet. 

Artists of the Ballet in "Alice's Adventures in Wonderland". Photo by Karolina Kuras. 

Ratmansky Rules

By Gay Morris

We tend to think that ballets create fantasy worlds far removed from the messiness of real life. However, it is impossible to consider Odesa and Solitude, the two Alexei Ratmansky works New York City Ballet has offered this winter season at Lincoln Center, without also thinking of Russia’s invasion of Ukraine in 2022 and Alexei Navalny’s solitary confinement and recent death in a Siberian prison.