World-class review of ballet and dance.
In a world in the midst of war, emerging from its post-pandemic slumber, themes and acts of unity, contact and harmony are more than welcome. The differences that make us human are also, dichotomously, the magic that brings us closer together. The subtle nuances of language, the freckles on your skin, the color and glorious hues of your eyes, the food you eat and the mannerisms and peculiarities that identify you as you, are the uncompromising glue that holds us together.
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For a Jewish man, Jerome Robbins sure had a clear idea of heaven—in the ballet realm, anyway. In two elegiac dances made less than a year apart, “In Memory Of…” and “Quiet City,” he had dancers in white doing low arabesque flies in a shaft of light emanating from the back left corner of the stage.
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To travel around, like the Earth in its recurrent, elliptical revolution around the sun, is no mean feat. Touring is a complicated, lengthy and costly affair.
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“Specky Clark” opens with a bang, then a whimper. The bang is the titular Specky’s mother, dropping dead onto the kitchen floor.
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The sought-after choreographer Aszure Barton and award-winning composer Ambrose Akinmusire bend their individual arcs toward one another in their collaborative, multi-disciplinary work titled “A a | a B : Bend,” presented as part of Lincoln Center’s Pasculano Collaborative for Contemporary Dance.
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