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Gods and Mortals

"Orpheus Alive", "Chaconne"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 15, 2019

by Denise Sum
copyright © 2019 by Denise Sum

The Greek myth of Orpheus and Eurydice has inspired countless creative works over the years. The National Ballet of Canada's choreographic associate, Robert Binet, is the latest dancemaker to interpret this classic love story with his ballet "Orpheus Alive". It is a sweeping, large-scale work with a cast of 45 dancers and a running time of 73 minutes. Rather than a literal re-telling of the myth, Binet modernizes the narrative, setting it in present-day Toronto (and the Underworld). The dark, tragic tale is simultaneously infused with witticisms and the repeated breaking of the fourth wall. Sometimes it works, but often it does not. The overall feel of this risk-taking work is half-baked. There are rich ideas and interesting dance sequences, but if not for the elaborate sets and special effects, "Orpheus Alive" feels more suited to a choreographic workshop or fringe festival. It does not (yet) have the cohesion or polish of a finished mainstage production. 

Jenna Savella and Spencer Hack in "Orpheus Alive". Photo by Karolina Kuras. 

Nuts and Bolts

"The Art of Partnering"
Studio 5
New York City Center
New York, New York
November 25, 2019

by Mary Cargill
copyright © 2019 by Mary Cargill

The intimate and imaginative Studio 5 presentations give the audience, who sit in a semi-circle around the artists, fascinating glimpses into the creative process.  This evening Alastair Macaulay, the former Chief Dance Critic of the "New York Times", put together a discussion on ballet partnering in three works by Balanchine with Jonathan Stafford, the Artistic Director of the New York City Ballet demonstrating some of the issues with dancers Sara Adams, Sterling Hyltin, Andrew Veyette, and Peter Walker, accompanied by the elegant playing of NYCB pianist Cameron Grant.

Sterling Hyltin and Andrew Veyette in "The Nutcracker" photo © Paul Kolnik.

Dimensions Dance Theatre of Miami Opens Its Season Transformed

“Under the Olive Tree” and "Genus"
Dimensions Dance Theatre of Miami
South Miami Dade Cultural Center
Cutler Bay, FL
November 16, 2019

by Sean Erwin
copyright© 2019 by Sean Erwin

Dimensions Dance Theatre of Miami opened its 2019-2020 season with “Ballet Sculpture and Serenity” at the South Miami Dade Cultural Arts Center November 16th at 8:00pm to a mostly full house.  Two company premieres and a world premiere headlined a program of works united by the theme of metamorphosis and classical Greece in the three year old company, itself transformed by key departures and fresh additions over the summer. Atlanta-based choreographer Tara Lee’s “Under the Olive Tree” headlined the program for only its second full-length performance since the company’s debut in November 2016.  The ballet itself is visually lavish even if its libretto – the Greek gods descend from heaven to experience human passions – is impossible to decipher in the action on the stage. 

Claudia Lezcano & Fabian Morales in "Apollo & Daphne"

A Beatles Tribute For All

“Pepperland”
Mark Morris Dance Group
Eisenhower Theater
The John F. Kennedy Center for the Performing Arts
Washington, DC
November 16, 2019

by Arielle Ostry
copyright © 2019 by Arielle Ostry

When I first heard Mark Morris had choreo- graphed a work to Beatles music, I was surprised and a bit skeptical. There are a lot of strong feelings about the Beatles. Some people believe it is a crime not to love their work. After seeing this show, I believe it is a crime not to gain some sort of enjoyment from watching Mark Morris’ new work, “Pepperland.” His tribute to the “Sgt. Pepper’s Lonely Hearts Club Band” album was enlightening, soothing, and chock full of humor. To paraphrase the creator himself, Morris claimed that this show is for people who love the Beatles, for those who hate the Beatles, and everybody in between. The work was not meant to place the Beatles’ groundbreaking album on a pedestal nor demean the iconic collection of experimental songs by poking frivolous fun at its themes and melodies. Instead, Morris developed a remarkably witty and subtly clever hour-long dance. Decked out in neon, the dancers unraveled like a collection of Crayola crayons released from the confines of their brand new box.

Photo: Mark Morris Dance Group in "Pepperland". Photo by Gareth Jones.

“Taiten: Noh & Kyogen”

“Taiten: Noh & Kyogen”
Japan Society
New York
November 14-16, 2019

by Gay Morris
copyright© 2019 by Gay Morris

Japanese Noh is said to be the oldest living theatrical form, its roots going back to the fourteenth century. It is bound by the minutest of rules, every gesture and step refined to abstraction. Its subject matter, too, was developed centuries ago and deals with an unreal world of warriors, ghosts, madwomen, angels, gods, and priests. Although Noh may be deeply conservative, the performance of “Taiten” last week at the Japan Center shows that it can be more than an archive of the past. The work was originally created to celebrate the 1912 enthronement of the 123^rd emperor of Japan. It has now been recreated and brought up to date to celebrate the ascendance of Hirohito, the 126^th emperor, whose enthronement is taking place this year with numerous rituals and celebrations.

Photo: The Heavenly Maiden dances in “Taiten,” From left-to-right: Maekawa Mitsunori, Kamei Hirotada, Mikata Shizuka, Narita Tatsushi, Sugi Ichikazu, Hosho Naoya, Hosho Kinya. Photo by Richard Termine.

Dust to Dust

"Dust", "Private Domain", "Piazzolla Caldera"
Paul Taylor Dance Company
David H. Koch Theater
Lincoln Center
New York, New York
November 16, 2019, evening

by Mary Cargill
copyright © 2019 by Mary Cargill

The three Taylor works in this program were all, in different ways, sardonic but sympathetic observations of loneliness and isolation.  This emotional downer did seem fitting, for this season is the final one for several Taylor dancers (Michelle Fleet, Parisa Khobdeh, Sean Mahoney, and Jamie Rae Walker -- Robert Kleinendorst will retire later this year) and for many in the audience, the retirement of a favorite dancer does seem a personal loss.  The dances, though, do survive, and so, I suspect, after a proper period of mourning, will the audience.

Paul Taylor Dance Company in "Piazzolla Caldera" photo © Paul B. Goode.

Romance and Redemption

"Giselle"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 6, 2019

by Denise Sum
copyright © 2019 by Denise Sum

The National Ballet of Canada opened their 2019-2020 season with a respectful look to the past. "Giselle" is an iconic touchstone for any classical company. Sir Peter Wright's production keeps the story of love and forgiveness front and centre, told through unadorned movement and mime. Whether the narrative, involving a nobleman in disguise, forest spirits, and death by dancing, comes across as dated or timeless rests heavily on the shoulders of the leading dancers. On opening night, this romantic era masterpiece was artfully rendered by Svetlana Lunkina and Harrison James as the central couple, supported by strong soloists and corps de ballet. Lunkina and James were first paired as Giselle and Albrecht three years ago. With time, the depth and nuance of their interpretations have continued to flourish.  

Svetlana Lunkin and Harrison James in "Giselle". Photo by Aleksandar Antonijevic. 

"The Body Is the Brain" -- Hope Mohr

"Signals from the West: Bay Area Artists in Conversation with Merce Cunningham at 100"
Hope Mohr Dancer: The Bridge Project with SFMOMA's Open Space
ODC Theater
San Francisco, CA
November 8. 2019

by Rita Felciano
copyright © Rita Felciano

The most recent Hope Mohr Dance Bridge Project, the ambitious, challenging and often mesmerizing “Signals from the West: Bay Area Artists in Conversation with Merce Cunningham at 100” is Mohr’s contribution to the many celebrations of the choreographer’s birthday. Almost three-months long, it brought together writers, activists, institutions and scholars in conversations, lecture demos and collaborations with each other. Rashaun Mitchell and Silas Riener opened the project in August by teaching an open audition of excerpts from “Scramble,” “Roaratorio,” “BIPED,” ”Change of Address” and “Fluid Canvas.”

The project closed with ten local performers — not all dancers – presenting world premieres based on their encounter with the Cunningham legacy. Those were interspersed by a quartet of dancers in the Cunningham excerpts. Sarah Bukowski, Traci Finch, Emily Hansel and Stacey Yuen, dressed in leotards vaguely reminiscent of “Summertime,” beautifully worked through the timing and expansive precision of Cunningham’s choreography.

Nol Simonse in Christy Funsch's "Moves Cords Names" Photo: Hillary Goidell

Old Favorites

"Airs", "Sunset", "Syzygy"
Paul Taylor American Dance
David H. Koch Theater
Lincoln Center
New York, New York
November 9, 2019, evening

by Mary Cargill
copyright © 2019 by Mary Cargill

For its annual New York season the Taylor Company has not adopted the idea of themed triple bills, where the same dances are performed together.  This may be easier on the schedulers, but it does limit and repertory, and a repertory as rich as Taylor's deserved to be seen from all angles.  The Saturday night performance showed works from the 1970s and '80s, mature Taylor at his most confident, ranging from the classical harmonies of "Airs" and the frantic energy of "Syzygy" to the profound understanding of young soldiers' fears in "Sunset", avoiding any facile and obvious anti-war disdain.

Paul Taylor Company in "Syzygy" photo © Paul B. Goode.

In Memorium

"Aureole", "Troilus and Cressida (reduced)", "Last Look", "Beloved Renegade"
Paul Taylor American Modern Dance
David H. Koch Theater
Lincoln Center
New York, New York
November 5, 2019

by Mary Cargill
copyright © 2019 by Mary Cargill

The second Paul Taylor Memorial Performance (the free event was given twice) included an impressive range of Taylor's works, from the sublime "Aureole", the silly "Troilus and Cressida (reduced)", the harrowing "Last Look", and ended with the new Artistic Director Michael Novak's farewell performance in "Beloved Renegade".  He received a shower of flowers and a rousing ovation, as the audience seemed to unite in thanking him and the company.  The final moments had the company congregating on the stage, backs to the audience, as they applauded a picture of Taylor while the curtain slowly lowered, a warm and oddly private salute to their own renegade.

Paul Taylor Dance Company in "Last Look" photo © Paul B. Goode.