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Isadora in the 21st Century: Interview with Lori Belilove

--  By Tom Phillips 

Isadora Duncan was and is an outlier -- 100 years ago, a rebel against the academic dance establishment, and now, a pure classicist in a free-wheeling, eclectic dance environment.  Today, no one embodies Isadora’s life and work more than Lori Belilove, director of the Isadora Duncan Dance Company and Foundation.  Working out of a loft-studio in Manhattan’s Chelsea neighborhood, she has spent decades as a dancer, teacher, and choreographer, re-inventing Duncan Dance for the 21st Century.  I talked with her over the last year, most recently on the last day of summer, 2022. 

The Isadora Duncan Dance Company: L to R: Carolyn Yamada, Samantha Mercado, Hayley Rose, Diana Uribe,  Emily D'Angelo

Just Desserts

"Raymonda Variations", "Tschaikovsky Pas de Deux", "Piano Pieces"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
September 24, 2022, matinee

by Mary Cargill
copyright © 2022 by Mary Cargill

Though all the music on this program was Russian, the atmosphere was certainly not gloomy; the ballets cheerful collections of beautiful dancing without a tear in sight, set to enticing music by Glazunov and Tchaikovsky.  Glazunov's full length "Raymonda" has some of the most limpid melodies and lush orchestrations in the ballet world and Balanchine, who set a complete version based on Petipa's choreography for the Ballet Russe de Monte Carlo in 1946, mined the score for several ballets, completely avoiding the somewhat baffling story to luxuriate in the gloriously danceable music.

Tiler Peck in "Tschaikovsky Pas de Deux" photo © Paul Kolnik

Romantic Pathways

"Divertimento No. 15", "Scotch Symphony", "La Sonnambula"
New York City Ballet
David H. Koch Theater
Lincoln Center
New York, New York
September 21, 2022

by Mary Cargill
copyright © 2022 by Mary Cargill

Though "Divertimento No. 15", set to Mozart, is a vision of Viennese elegance, complete with Austrian shades on Karinska's tutus, this performance found its romantic heart in the flowing Andante and was a courtly introduction to the more traditionally romantic idea of the unattainable in "Scotch Symphony" with its echoes of "La Sylphide", and in the gothic mysteries of "La Sonnambula".  There were many debuts (the entire cast of "La Sonnambula" was making its first appearance), but the works looked well rehearsed and cohesive, as if everyone were hearing the same music.

Sterling Hyltin and Anthony Huxley in "Scotch Symphony" photo © Erin Baiano

Miami at the Pillow

“Diversion of Angels,” “Geta,” “Antique Epigraphs,” “Serenade”
Miami City Ballet
Ted Shawn Theater, Jacob’s Pillow
Beckett, MA
August 24 - 28, 2022

by Gay Morris
copyright © 2022 by Gay Morris

Since its founding in 1985, Miami City Ballet has had close connections with New York City Ballet and George Balanchine. The company’s technique and style are modeled on Balanchine’s teachings, while its first artistic director, Edward Villella, and its current one, Lourdes Lopez, were principal dancers with the New York company when Balanchine headed it. Those links were much on display in Miami City Ballet performances at Jacob’s Pillow last week. The company brought a program that included works by Martha Graham, Jerome Robbins and Margarita Armas.

Welcome Back

"Birthday Offering", "Shades of Spring", "Varii Capricci"
Sarasota Ballet
Joyce Theater
New York, NY
August 16, 2022

by Mary Cargill
copyright © 2022 by Mary Cargill

After a two-year interruption the Sarasota Ballet finally made it back to the Joyce Theater for its third August visit.  Many of the dancers are new to the company and many old favorites have retired, but the company looked polished and cohesive. The Director, the former Royal Ballet dancer Iain Webb, has built an impressive repertoire, with many works by Sir Frederick Ashton whose deceptively difficult ballets have helped develop the company's detailed, elegant, and unmannered style. The Joyce program had two Ashton works, the 1956 "Birthday Offering" and the 1983 novelty "Varii Capricci", as well as the world premiere of Jessica Lang's "Shades of Spring."

Sarasota Ballet in "Birthday Offering" photo © Frank Atura

New Directions

“Dichotomous Being: An Evening of Taylor Stanley”
Henry J. Leir Stage
Jacob’s Pillow Dance Festival
Becket, Massachusetts
Saturday, July 30, 2022

by Gay Morris
copyright ©2022 by Gay Morris

Taylor Stanley projects a sense of mystery that seems an intrinsic part of his personality. It is as if his dancing is a means of self-exploration, a search for answers that may not yet be fully available. A principal with New York City Ballet since 2016, Stanley’s classical technique is pristine but never solely the point. His dancing, like his race and gender (he is bi-racial and refers to himself as “they”), is not singular but plural, a point made in his concert, “Dichotomous Being: An Evening of Taylor Stanley,” presented last week in performances at the Henry J. Leir outdoor stage at Jacob’s Pillow.

Taylor Stanley in "Redness," choreographed by Shamel Pitts.  Photo by Danica Paulos.

 

 

 

“An Untitled Love”

“An Untitled Love”
A.I.M. by Kyle Abraham
Jacob’s Pillow
Beckett, Massachusetts
July 17, 2022

by Gay Morris
copyright ©2022 by Gay Morris

Kyle Abraham’s “An Untitled Love” is dedicated, in his words, to “Black love,” as evoked through the music of R&B artist D’Angelo. Abraham has been a fan of D’Angelo’s music since his college days. He developed his choreographic response to it over the last four years, which included two residencies at Jacob’s Pillow.

Young Love

American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
July 16, 2022, matinee

by Mary Cargill
copyright © 2022 by Mary Cargill

Kenneth MacMillan's "Romeo and Juliet" is an audience magnet and the Met was pointing straight north for Cassandra Trenary's debut as the doomed heroine.  Though the work does have its dry patches--cue those frizzy haired harlots who help pad the second act (and who seem to have had a fresh perm for the occasion)--it is a true tear-jerker, as effective as any Puccini opera in getting the audience to cry on cue.  Trenary certainly got those tears going; with her fresh, youthful face and elegant dancing, she was a natural and gave an extremely accomplished and detailed performance.  She toned down the opening hijinks with that silly doll and made her Juliet youthful but shyly eager to grow up.  She was intrigued and a bit flattered by Paris and very happy to be at the ball.  This made her quietly passionate reaction to Romeo (Calvin Royal III) seem a natural development, and she seemed to dance the role in complete sentences, seamlessly merging the steps and the acting.

Cassandra Trenary and Calvin Royal III in "Romeo and Juliet" photo © Rosalie O'Connor.

Thanks for the Memories

American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
June 22, 2022, matinee

by Mary Cargill
copyright © 2022 by Mary Cargill

This performance of ABT's only triple bill this season, subtitled (a bit hopefully) "American Splendor", was dedicated to Kevin McKenzie,  after 30 years as Director of ABT.  The evening opened with brief remarks by Gillian Murphy and Herman Cornejo introduced a short film summarizing Mr. McKenzie's career (including adorable pictures of him as a very young, dedicated ballet student) interspersed with interviews of Mr. McKenzie and a few of the dancers he had worked with, some of whom were in the audience.  The intermissions were trips down memory lane, spotting dancers who brought back so many happy memories.  Then, no more speeches, on with the show, until the confetti exploded in the curtain calls.

Devon Teuscher and ABT dancers in "Theme and Variations" photo © Rosalie O'Connor

Greek Fire

"Of Love and Rage"
American Ballet Theatre
Metropolitan Opera House
Lincoln Center
New York, New York
June 22, 2022, matinee

by Mary Cargill
copyright © 2022 by Mary Cargill

"Of Love and Rage", Alexei Ratmansky's newest work for ABT, may never become a second "Romeo and Juliet", able to fill the Met with its name alone, and audiences new to it will always have to study the synopsis with devoted attention. Nevertheless, with the luminous settings and elegant costumes (Jean-Marc Puissant), the robust Khachaturian score, and the many choreographic delights (including lots of male jumping) it should find its audience.  I certainly hope so, because Ratmansky has provided a fine vehicle to show off ABT's many newer, younger, and very interesting dancers.

ABT in "Of Love and Rage" photo © Gene Schiavone.