For the second year in a row, Ballet Hispánico, Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet, and Dance Theater of Harlem came together for a week of free performances at the Damrosch Park Bandshell. There were way too many titles and slogans involved: it was officially the BAAND Together Dance Festival within Lincoln Center’s Summer for the City Festival, for which the tagline was: Remember, Reclaim, Rejoice. These phrases were plastered around the stage and surrounding areas. More simply, these shows are Lincoln Center’s attempt to create a summertime version of City Center’s successful Fall for Dance Festival, which is a great idea—though it needs more organization and streamlining in almost every respect. Case in point: the Reunions Dance Festival, the Summer in the City event I saw last weekend, started 10 minutes early without warning. The BAAND show started 40 minutes late, also without any communication. BAAND was delayed for lightning, which would have been helpful to know via email or text for those with advance ticket reservations, and kind to announce verbally to everyone standing forever in line. Instead, it was a frustrating mess with the confused audience queued up around the block for an eternity in intense heat and, apparently, the threat of lightning.
“One for All” by Annabelle Lopez Ochoa at BAAND. Photograph by Erin Baiano
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continua a leggere
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continua a leggere