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It's Only a Paper Moon

"A Streetcar Named Desire"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 2, 2022 

by Denise Sum
copyright © 2022 by Denise Sum

The National Ballet of Canada is back with full capacity performances at last. The pandemic delayed many retirements and planned farewell performances for dancers around the world. Thankfully, principal dancer Sonia Rodriguez was able to hold out and close a remarkable 32 years in the company with a run as Blanche DuBois in "A Streetcar Named Desire." It is the kind of meaty dramatic role that highlights a mature dancer's range. John Neumeier's production is a flawed one, but Rodriguez and the large supporting cast gave a committed and emotional performance. 

Sonia Rodriguez in "A Streetcar Named Desire". Photo by Johan Persson. 

Something out of Nothing

"For a Dance Never Choreographed"
A film by Luca Veggetti
Text from notes by Martha Graham
Voice: Chen-Wei Lee
Cinematography: Stefano Croci
Music: Paolo Aralla

--By Tom Phillips 
Copyright 2022 by Tom Phillips 

Still from For a Dance Never Choreographed, 2021. Photo: Stefano Croci.

For artists and introverts, the Pandemic of 2020-22 was a window of opportunity -- a chance to observe the world in the absence of normal human activity.  During lockdown and quarantine periods, walking deserted streets or sitting in empty public spaces, we could suddenly see form without function --- the structure of civilization without its uses.   

Italian artist-choreographer Luca Veggetti found himself stuck in his hometown of Bologna, Italy, when the pandemic struck in 2020.  So he made something out of nothing.  

 

New Faces and Old Ballets

Swan Lake II
"The Four Temperaments", "Sonatine", "Black Swan Pas de Deux", "Swan Lake"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
February 15 and February 19, matinee, 2022
by Mary Cargill

copyright © 2022 by Mary Cargill

These two performances featured debuts of many of City Ballet's talented young dancers.  Some, of course, were more successful than others but all of the dancers, new and old, looked comfortable, confident, and very well rehearsed, especially when dancing in pairs; the dancers seemed to be focused on each other, letting the stage disappear as the audience shared their feelings.  The corps too looked sharp, energized, and synchronized, especially in the complex rhythms of "The Four Temperaments".

New York City Ballet dancers in "The Four Temperaments" photo © Paul Kolnik

Tchaikovsky's Night

"Serenade", "Andantino", "Tschaikovsky Pas de Deux", "Swan Lake"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
February 11, 2022
by Mary Cargill

copyright © 2022 by Mary Cargill

 

New York City Ballet had scheduled a marathon of Peter Martins' "Swan Lake", but like so many plans, it had to be revised, though echos of that eternal bird did remain in the programing.  The audience did get a full evening of Tchaikovsky's music, a pas de deux set to the music originally written for the Black Swan, and Balanchine's take on Ivanov's white act.

New York City Ballet in "Swan Lake" photo © Paul Kolnik

Through the Years

"Mozartiana", "Rubies", "La Valse"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
February 5, 2022, evening

by Mary Cargill
copyright © 2022 by Mary Cargill

City Ballet's all Balanchine program spanning 30 years, from the 1951 "La Valse" to the 1981 "Mozartiana" included snapshots of some of Balanchine's most distinctive ballerinas, Tanaquil Le Clercq ("La Valse"), Patricia McBride ("Rubies"), and Suzanne Farrell ("Mozartiana").  The current dancers, so different from the originals, need to both copy the steps and go beyond them to create their unique interpretations.  It is a challenge, but fascinating to watch.

Mira Nadon and NYCB dancers in "Rubies" photo © Erin Baiano.

 

All’s Well That Ends…

San Francisco Ballet
“Nutcracker” 
San Francisco War Memorial Opera House
San Francisco, CA
December 22, 2021

By Rita Felciano
Copyright © Rita Felciano, 2021

Even if you are not that interested in Ballet, chances are you have seen “Nutcracker” at least once as a child, during an elementary school class visit, or even on a date, I have been told that those are popular as safe and pleasant. But then are those of us who go year for year, sometimes wondering whether it  is really worthwhile one more time. Usually, I  succumb because there is always something fresh to discover if only a surprising casting. Though partially driven by professional responsibility, I have yet to regret this yearly ritual.

At Long Last

"Serenade", "Angels' Atlas"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
November 11, 2021

by Denise Sum
copyright © 2021 by Denise Sum

Having endured one of the longest lockdowns in the world, the pent up desire for connection and live performance in Toronto has been palpable. The National Ballet of Canada’s triumphant return to the stage after 20 months was cause for joyous celebration, an opening night like no other. The evening consisted of two great ensemble pieces: George Balanchine’s “Serenade” and Crystal Pite’s “Angels’ Atlas”. In lieu of an intermission, a 10 minute video interlude allowed the dancers just enough time for a quick change. The video was filmed during the pandemic for the NBoC’s virtual 2020-2021 season, featuring “Soul” by Toronto-based indigenous choreographer, Jera Wolfe. 

Kingly Dancers At Work

Alonzo King Lines Ballet
Yerba Buena Center for the Arts
November 6, 2021
San Francisco, CA

By Rita Felciano
Copyright © Rita Felciano 2021

         It is rare to get a standing ovation half-way through an evening’s program. But the Alonzo King Lines Ballet dancers had it more than had earned with outstanding performances of excerpts of four King choreographies, the oldest going back to 2007.  The company had been on the road and, after two performances only, was about to take off again for a tour of Europe. The audience acknowledged Lines’ artistry with a rousing “welcome back.” King had lovingly entitled the selections Four Heart Testaments. The audience acknowledged Lines’ artistry with a rousing “welcome back.”

Womanspreading: Re-defining Butoh

 "Eternity 123"
Vangeline 
Triskelion Arts, Brooklyn 
October 30, 2021

--   By Tom Phillips 
Copyright 20231 by Tom Phillips

Butoh queen Vangeline describes her solo "Eternity 123" as a "symbolic journey of women's liberation across time."  I tossed the program note aside and watched the show with an open mind, with which the artist proceeded to play. 

Photo by Bryan Kwon

What Was, What Could Have Been

“Fandango,” “Bloom,” “Where We Dwell”
Roman Mejia, Tiler Peck and Herman Cornejo, Ayodele Casel
Fall For Dance – Program 5
New York City Center
New York, NY
October 23, 2021

by Marianne Adams
copyright © 2021 by Marianne Adams

The last program of this year’s Fall For Dance Festival looked back in looking ahead. Alexei Ratmansky’s 2010 work “Fandango” was presented in a restaging on a male dancer form, Justin Peck’s new work “Bloom” drew heavily on George Balanchine’s iconic “Tchaikovsky Pas De Deux,” and the world premiere of Ayodele Casel’s tap extravaganza “Where We Dwell” looked to historically American themes in dance and music, adjusting them for the times.

Photo of Tiler Peck and Herman Cornejo in “Bloom.” Photo © Stephanie Berger.