To Sir Frederick Ashton’s fast footwork and musicality belongs the Australian Ballet’s double bill “The Dream” and “Marguerite & Armand.” To the charming misadventure distillation of Shakespeare’s A Midsummer Night’s Dream bubbles “The Dream.” To the legend of Margot Fonteyn and Rudolf Nureyev, dovetails Amy Harris’s Marguerite, in Harris’s last stage role before her retirement. After 22-years with the company, Harris bids farewell in a delicious camellia-bloom, echoing Marguerite’s own departure (thankfully for altogether different reasons; Harris is retiring from the stage, whereas her character Marguerite is dying of tuberculous).FREE ARTICLE
There seems to be no clear organizing principle behind the programs at the yearly Fall for Dance festival at New York City Center. No principle, that is, beyond the very laudable one of offering a wide range of dance from various corners of the world to the public at a very accessible price.
Programs can be hit or miss, it’s true, but there’s usually at least one item that quickens the pulse. In the final program (program five) of the festival, that was Bijayini Satpathy’s performance of the Odissi solo “Sitāharan,” a retelling of an episode from the fifth century BC epic the “Ramayana.” I call it a solo, but in reality it is a quintet, danced by Satpathy, sung (with gorgeous tone) by the vocalist Bindhumalini Narayanaswamy, and played by Sanjib Kumar Kunda, Sibasankar Satapathy, and Srinibas Satapathy on violin, mardala drum, and flute. (The latter two are Satpathy’s brothers.) All traveled from India.
When a choreographer takes on volcanic and iconic works from American musical giants like Leonard Bernstein and John Adams one move they could take is to cool them down with a couple of more soothing European works in between.Continue Reading