A Journey of Healing
Across North Africa, the all-night music-dance-trance ritual called lila (pronounced lee-lah) is celebrated as a means for spiritual healing.
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Last year’s School of American Ballet Workshop performances marked two milestones: Suki Schorer’s 50th anniversary as a teacher, and Kay Mazzo’s retirement from the Chair of Faculty position after 40 years. The program was audacious (especially coming out of Covid), with a commissioned world premiere and the staging of the epic finale from Balanchine’s “Symphony in C.” Electricity was in the air. This year, prudently, was about rebuilding. The atmosphere was all gentle breezes. The bill included four excerpts that harked back to the early history of the school, two of which—“Coppélia” and “Napoli”—commemorated the 25th anniversary of the passing of two celebrated teachers appointed by Balanchine, Alexandra Danilova and Stanley Williams. There were reams of tulle, pretty passés, and turns ending in tight fifth positions on display. There was no sight of Balanchine’s abstract, angular side. Though the evening was less zingy than usual, it was smart of Darla Hoover and Aesha Ash, in their freshman year as Chair and Co-Chair of Faculty, respectively, to stress roots and continuity.
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Across North Africa, the all-night music-dance-trance ritual called lila (pronounced lee-lah) is celebrated as a means for spiritual healing.
FREE ARTICLEThe Fall for Dance Festival programming formula runs roughly thus: feature a new troupe, include a pet (or vanity) project of a big NYC star, and end with a feel-good group showcase.
PlusHe is the love of your life. You are his one-and-only. The pair of you is doomed: Obligations to the social order make your relationship impossible. The only way out—double suicide. Actually, this being eighteenth-century Japan, you let him literally do it all; still, you are his forever and there is no turning back.
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Oh yes, you are correct Carole! It is a small but impressive list. Peter Boal too, right? But I’ve never seen two Wien Award winners that have been there that long, in the same year no less!
Another confusing topic: the program said that the Coppelia Waltz was a “solo that Mr. Balanchine made for [Ware] in 1974.” But others have told me that it was originally choreographed on Carol Sumner. I generally take program facts at face value, apologies if there are issues. And if anyone can enlighten, please do! Thank you, Faye
Some of us did go all the way through the school. Lauren Hauser, Julie Michael, me, just to name a few. We are not many but it does exist.