Lists of Promise
“Lists of Promise,” a new work currently in a two-week run from March 13- 30 at the East Village cultural landmark, Theater for the New City, promised more than it delivered, at least for now.
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The American Ballet Theatre’s opening bill was not a hole-in-one, but the ideas behind the programming were sound: feature a new work that builds upon company traditions (Gemma Bond’s “La Boutique”), push the dancers in a different style by a hot choreographer (Kyle Abraham’s “Mercurial Son”), and show off the troupe’s prodigious technical chops in a grand manner (Harald Lander’s “Études”). The second bill, Choreographers of the 20th and 21st Centuries, was conceptually fantastic—a birdie. George Balanchine’s “Ballet Imperial,” Alexei Ratmansky’s “Neo,” and Twyla Tharp’s “In the Upper Room” are a winning combination with their sharp contrasts of style, costuming, and cast sizes. Unfortunately, the Fall Gala was a total bogey. The 11 awkwardly framed excerpts had no flow, and the night was further marred by low production value: there were curtain issues, odd costumes, and tacky lighting choices.
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“Lists of Promise,” a new work currently in a two-week run from March 13- 30 at the East Village cultural landmark, Theater for the New City, promised more than it delivered, at least for now.
Continue Reading“State of Heads” opens with a blaze of white light and loud clanking onto a white-suited Levi Gonzalez, part Elvis, part televangelist addressing his congregation. A pair of women sidle in—Rebecca Cyr and Donna Uchizono—dressed in ankle-length white dresses and cowered posture.
Continue ReadingThe late John Ashford, a pioneer in programming emerging contemporary choreographers across Europe, once told me that he could tell what sort of choreographer a young artist would turn into when watching their first creations.
Continue ReadingLast weekend, the Royal New Zealand Ballet hosted two nights of performance in collaboration with the Scottish Ballet at the St. James’ Theatre in Wellington, New Zealand. The bill included two works by choreographers affiliated with Scottish Ballet, and two by RNZB choreographers. There was welcome contrast in timbre and tempo, and common themes of self-actualisation and connection, through a love of dance. As RNZB artistic director Ty King-Wall announced in the audience address, the two-night only performance was in the spirit of “bringing the companies together in mutual admiration and respect.”
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