World-class review of ballet and dance.
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Elisa Badenes and Friedemann Vogel in “Mayerling” by Kenneth MacMillan. Photograph credit: Stuttgart Ballet
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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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