The big news before the start of New York City Ballet’s winter season was the announcement that the choreographer Alexei Ratmansky would be joining the company as artist in residence (in September) after the conclusion of his contract with American Ballet Theatre (in June). As many will remember, this was the first New York company Ratmansky choreographed for, before being swooped up by ABT. He has made some of his most innovative works here, including “Russian Seasons,” “Concerto DSCH,” and “Voices,” which returns to the repertory this week.
Isabella Lafreniere, right, and Mira Nadon with pianist Susan Walters in “Rondo” by Jerome Robbins. 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.Continue Reading
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.Continue Reading