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Looking Back, While Facing Forward

“At the Wrong Time,” “Dust Duet,” “Dare to Wreck,” “Lazarus” (Act II)
Fall For Dance Festival - Program 3
The Mariinsky Ballet, English National Ballet, Skånes Dansteater, Alvin Ailey American Dance Theater
New York City Center
New York, NY
October 6, 2019

by Marianne Adams
copyright © 2019 by Marianne Adams

The third program of this year’s Fall For Dance Festival followed what is now an expected formula: there was a range of dance styles on display, at least one work on pointe, and at least one crowd rouser. And so the “something for everyone” menu of four choreographies, all less than a decade old, predictably had enough to please most viewers, even as the tone stayed somber, and the theme progressive.

Photo of English National Ballet in “Dust Duet” Photo © Lauren Liotardo

Old Movement, Anew

“Raymonda Variations,” “Variations Pour Une Porte et Un Soupir,” “DGV: Danse à Grande Vitesse”
New York City Ballet
David H. Koch Theater
New York, NY
September 22, 2019 (matinee)

by Marianne Adams
copyright © 2019 by Marianne Adams

New York City Ballet could have presented any combination of works for its “Balanchine + Wheeldon” program, but the particular selection of George Balanchine’s “Raymonda Variations” and “Variations Pour Une Porte et Un Soupir” and Christopher Wheeldon’s “DGV: Danse à Grande Vitesse” worked to highlight Balanchine’s creative genius, while contextualizing Wheeldon.  Mr. B’s ballets were both around half-a-decade old, Wheeldon’s – a product of this century. Yet somehow it was Balanchine’s “Porte et Soupir” that seemed the most modern and in-your-face daring, with Wheeldon’s looking like a natural facet of the company’s expressive library. 

Photo of Maria Kowroski in “Variations Pour Une Porte et Un Soupir.” Photo © Paul Kolnik

Saying Something, Meaning More

"Darl," "Seventy-Two Hours," "Two Sides Of," "Reverie," "Dialogue Dances"
The Joyce Ballet Festival, Program B
The Joyce Theater
New York, NY
August 10, 2019 

by Marianne Adams
copyright © 2019 by Marianne Adams

Program B of the Joyce Ballet Festival, curated by The Royal Ballet’s star Lauren Cuthbertson, at first could have seemed like an odd grab bag of material, as thematically its one United States and four world premieres hardly had a connecting thread (besides the almost uniform prominence of Cuthbertson).  On reflection though, the program amounted to the ballerina's expression of a multitude of angles, from humorous to lyrical, to ethnic, to dramatic, and a multitude of themes, all in the little time a night’s bill can allot. Whether these were facets of her interests, or themes she wanted to put in front of the audience, the whole was made richer by its parts, and seemed to have left a lot still unsaid upon the curtain’s fall.

Photo of Lauren Cuthbertson in "Darl." Photo Copyright (c) by Maria Baranova

Flavors of American Cool

“The Brahms-Haydn Variations,” “Deuce Coupe,” “In the Upper Room”
American Ballet Theatre
The Metropolitan Opera House
New York, NY
May 31, 2019

by Marianne Adams
copyright © 2019 by Marianne Adams

ABT’s Tharp Trio program was in some ways all about the once-new ways of looking at dance, and in others an unequivocal way to underscore the “American” in American Ballet Theatre. The three Twyla Tharp works -- the crowd-pleasing modern “In the Upper Room,” the neo-classical “Brahms-Haydn Variations,” and the completely new to the company, blended-styled “Deuce Coupe” -- showed an American approach to classicism and a very American way of blending forms of dance, innovating, and integrating freedom into musical movement. 

Photo of the company in "In the Upper Room." Photos © Marty Sohl.

Looking Through the Roots

“Scotch Symphony,” “Valse-Fantaisie,” “Sonatine,” “Stravinsky Violin Concerto”
New York City Ballet
David H. Koch Theater
New York, NY
May 8, 2019

by Marianne Adams
copyright © 2019 by Marianne Adams

With its “All Balanchine” program, New York City Ballet turned to the older works of its founding master – George Balanchine’s “Scotch Symphony,” “Valse-Fantasie,” “Sonatine,” and “Stravinsky Violin Concerto.”  This particular evening had many debuts, allowing for a fresh look at the company through the older works, and also proving that the company’s classics are alive and well in the hands of NYCB’s debutants and veterans alike.  

Photo of Alston Macgill in “Scotch Symphony.” Photo © Erin Baiano

All American Dance

“Slaughter on Tenth Avenue,” “Barber Violin Concerto,” “Diamonds”
New York City Ballet
David H. Koch Theater
New York, NY
May 5, 2019

by Marianne Adams
copyright © 2019 by Marianne Adams

New York City Ballet’s “Barber, Broadway & Balanchine” program, showing Balanchine’s “Slaughter on Tenth Avenue” and “Diamonds,” and Peter Martins’ “Barber Violin Concerto,” at first seemed like an odd mix of repertory give the ballets’ vastly different styles. But combining dance hall theatrics, strong American modern dance flavor, and of course one of the best examples of Balanchine’s nod to classicism, actually made a point about the company itself and its fairly unique ability to present such varied, all-American works.

Photo of Sara Mearns in "Slaughter on Tenth Avenue." Photo © Paul Kolnik

Modern Takes

“Hallelujah Junction,” “Herman Schmerman,” “The Exchange,” “Concerto DSCH”
New York City Ballet
David H. Koch Theater
New York, NY
April 24, 2019

by Marianne Adams
copyright © 2019 by Marianne Adams

One of the most exciting things about New York City Ballet as a company is the sheer number of new choreographic works it manages to usher into the world season after season.  That it has whole programs devoted to 21^st century choreographers is a testament to that, and those tend to be my favorite evenings as they give a real chance to look at new works in their own context, without reference to the classics. The second of such two programs staged during the company’s spring season offered ballets by William Forsythe, Alexei Ratmansky, Matthew Neenan and the company’s departed artistic director, Peter Martins. None of them were premieres, but the program succeeded at showing the rich, if not flawless, state of modern classical dance. 

Photo of Brittany Pollack in William Forsythe’s Herman Schmerman. Photo © Paul Kolnik

Classical Styles

“Significant Strangers,” “Counterpoint,” “Blind Revelry”
Tom Gold Dance
The Kaye Playhouse at Hunter College
New York, NY
April 3, 2019

by Marianne Adams
copyright © 2019 by Marianne Adams

The spring program by Tom Gold Dance at The Kaye Playhouse at Hunter College, lasting only two days, was brief but choreogra- phically engaging. Tom Gold’s three works selected for the evening presented whimsical partnerships with the world premiere of “Significant Strangers,” theater with the New York premiere of last year’s dramatic “Blind Revelry,” and distinctly more modern craftsmanship with the 2017 duet titled “Counterpoint.” While the program could have benefitted from better dancing, the evening was an abundant exploration of classical style.  

Photo of Evelyn Kocak and Michael Sean Breeden in Tom Gold's “Significant Strangers.” Photo © by Eugene Gologursky

It’s All in the Music

“Serenade,” “Mozartiana,” “Tschaikovsky Piano Concerto No. 2”
New York City Ballet
David H. Koch Theater
New York, NY
January 26, 2019 (matinee)

by Marianne Adams
copyright © 2019 by Marianne Adams

You cannot go wrong with the music of Peter Ilyich Tchaikovsky or the choreography of George Balanchine, and so in some ways New York City Ballet’s “All Tschaikovsky/ Balanchine” program, a fairly regular staple of the company’s seasons, was set up for success. The many debuts in two of the bill’s works wouldn’t have made or broken the overall impression of this performance, but as it happened mostly delighted with fresh but faithful interpretations.   

Photo of Lauren Lovette and Ask la Cour in “Serenade.” Photo © Paul Kolnik

Of Ancestry and Present Moment

“Estrogen/Genius,” “Distant Kin,” “North Star,” “Mudan 175/39”
Garth Fagan Dance
The Joyce Theater
New York, NY
November 2, 2018

by Marianne Adams
copyright © 2018 by Marianne Adams

Garth Fagan Dance returned to the Joyce Theater this fall for less than a week, but was determined to make the most of the appearance. Each night’s program presented the company’s two new works, Garth Fagan’s “The North Star,” which was a celebration of the life of Frederick Douglass, and Norwood Pennewell’s “Distant Kin,” so the audience had an opportunity to see the premieres regardless of their chosen performance night.  The rest of the bill consisted of two older works, which for the Program B performance I attended were Fagan’s 2017 protest piece again Harvey Weinstein “Estrogen/Genius,” and excerpts from Fagan’s 2009 work “Mudan 175/39.”

Garth Fagan Dance dancers in “Distant Kin.” Photo © by Julie Lemberger