Shakespearean Twist
It’s a drag to report that I had the urge to walk out of my first performance back in NYC after a long summer break.
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World-class review of ballet and dance.
Lights go up on three dancers who sit side by side on the floor in a far corner of the stage, legs outstretched, soles of their bare feet delightfully exposed. Siblings posing for a photo in the backyard? It’s a brief look, like a flashback. The stage goes black, and once the music starts (Mendelssohn’s “Songs Without Words”), the three make their official entrances for “Trio” by Peter Stathas, first performed in 1985 by Stathas himself, along with Gerri Houlihan and Susan Rose. The dancers race about, holding hands as they wind around one another, making a series of human knots.
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It’s a drag to report that I had the urge to walk out of my first performance back in NYC after a long summer break.
PlusThings seem to be clicking in place for Mamela Nyamza. Her latest work “The Herd/Less” is touring the world while her recognition as a choreographer with a distinction for the subversive and political has earned her a Silver Lion for dance at the Venice Biennale.
PlusAfter taking a field trip in the second grade to see the Alvin Ailey American Dance Theater, Ronald K. Brown was inspired to take his first dance class at Bedford Stuyvesant Restoration Corporation, a Brooklyn-based community center.
PlusAs much as it is a cliché to reference, there is something special in finding a work that so aptly fits that famous quote from George Balanchine: “See the music. Hear the dance.”
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