Dance Floor Liberation
Los Angeles–based dance artist Jay Carlon knew that the proscenium stage couldn’t house his 2024 work, “Wake,” in its fullness. So he moved it elsewhere: to a rave.
Continua a leggereWorld-class review of ballet and dance.
The elegant woman seated next to me at the Sunday matinee was excited to see Sara Mearns in “Slaughter on Tenth Avenue.” This was high praise, as she had fond memories of Suzanne Farrell and Arthur Mitchell in the piece—the ballet’s original 1968 cast. The New York City Ballet’s 75th anniversary season has included several dancer celebrations, but I’d like to take a moment to toast the audience, which, on any given Sunday, is full of avid and incredibly knowledgeable Balanchine fans. I often discover that a random seatmate or a stranger behind me on the concessions line is drawing on half a century of ardent viewership. Frequently, ballet legends like Eddie Vilella and Kay Mazzo are in attendance. At that same show, I sat behind the dance historian Alastair Macaulay. I’d also brought my mother along, who would never claim to be an expert though she has watched literally hundreds of shows over the years while supporting me. There are no pennants or Patty McBride bobbleheads for these balletomanes, they come for the love of the players or the game. Maybe because I’ve logged time on both sides of the curtain now, I feel compelled to fête their allegiance to the company too. Without them, there would be no 75th anything. Like that old tree-falling-in-the-woods conundrum, does a ballet exist without spectators? It would just be fancy exercise.
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Los Angeles–based dance artist Jay Carlon knew that the proscenium stage couldn’t house his 2024 work, “Wake,” in its fullness. So he moved it elsewhere: to a rave.
Continua a leggereChoreography wasn’t on Lia Cirio’s radar when artistic director Mikko Nissinen asked her to participate in Boston Ballet’s ChoreograpHER initiative in 2018. The principal dancer had always thought, “Oh, that's not something for me. I just like being in the room and helping people and being choreographed on.” But her good friend and colleague at the time, Kathleen Breen Combes, gave her a nudge.
Continua a leggereIngrid Silva’s expression is calm, the side of her mouth upturned a few degrees, as if she’s delighting in the reception of her own joke.
Continua a leggereFrench choreographer Lea Tirabasso makes dense, intricate work which explores existential concerns connected with science, nature and morality. Witty, vivid and visceral, her work pushes beyond simple genres or choreographic language, creating something far richer and more complex. Her most recent piece, “In the Bushes” is part of the Edinburgh Festival this year. Fjord Review caught up with Léa Tirabasso ahead of the Summerhall run.
Continua a leggere
Many kind words lately, thank you all. And thanks Martha for sharing your memories and this great story, and for proving my point about the wisdom of the City Ballet audience!
An interesting review and I would like to point out that Bourree Fantasque was also made by Balanchine as a vehicle for Janet Reed, who joined City Ballet at his invitation the same year as Jerome Robbins. When Balanchine took Reed and her husband out to dinner at the 21 Club to ask her to transfer from Ballet Theatre to City Ballet, she responded that she would love to but she wasn’t a Balanchine dancer. “We make something for you,” he said, and the Polonaise, which she led, was that “something.” She was also first cast in Western Symphony, and acquitted herself well in Symphony in C (I remember her in that), Concerto Barocco, Serenade. I too wish I could have seen this performance of Bourree.
Always, always enjoy Faye Arthurs’ reviews. Wish I could see as many performances as she does!