Dance

The American Ballet Theater’s 75th Anniversary Performances

Misty Copeland in "Company B." Photo © Gene Schiavone.

The centerpiece of the evening was Monotones I and II, set to music by Eric Satie with choreography by Frederick Ashton. Each Monotone is a pas de trois; one for two women and a man; the other for two men and a woman with II made first. Both pieces look very simple but they aren’t, as each contains a lot of arabesques and attitudes as well as other moves requiring hard-to-sustain balances. The dancers stand out from the background lit by Michael Korsch—the first group in yellowish-green from neck to toes; the second in white, both with what look like squashed bathing caps adorned with jewels on their heads. (Originally, the head coverings were different and, apparently, more stylish.) The piece is classic and remote; at times the dancers made me feel they were under the sea, moving their arms and legs against the weight of water.

Alvin Ailey American Dance Theater at Lincoln Center, June 14, 2015

Alvin Ailey American Dance Theater in Rennie Harris' Exodus. Photo Paul Kolnik.

The evening’s first piece, “Toccata,” is part of a longer work, Come and Get the Beauty of it Hot, created by Talley Beatty in the 1960s. The dance is  described as “set in the streets of New York” and has a jazzy feel that reminded me of West Side Story although with a more classic look and feel. Set to music by Grammy Award-winning Argentine composer Lalo Schifrin, the piece incorporates ensembles, duets and trios with a “big” finish when the girls leap—almost sail—into the men’s arms with their own arms outstretched. The whole is fun but not very arresting, almost like a series of class exercises.

New Chamber Ballet, Miro Magloire, Artistic Director, Choreographer, at the City Center, Studio 5

Miro Magloire's "The Letter." Photo. Kristen Lodoen Linder.

The modest setting: a large practice studio at City Center with the room’s reversed big-bowl chandeliers providing  the “lighting;” the audience on folding, metal chairs. German-born Miro Magloire was everywhere at once; welcoming the audience, providing background before each of the six offerings and repositioning the grand piano and music stand. Magloire’s company, New Chamber Ballet, is small with five dancers and often a guest artist; pianist Melody Fader whose brilliant playing enhanced  three pieces and violinist Doori Na who played the other three.

Ballet to Broadway: Christopher Wheeldon with Rita Moreno

The Royal Ballet performs Christopher Wheeldon's 'The Winter's Tale'. Photo from roh.org.uk.

The evening as billed suggested that Mr. Wheeldon would be the center of attention which, given the raves for American in Paris on Broadway, was understandable. Unassuming and polite, Wheeldon spoke of his family’s love of all things theatrical and about their taking him, quite young, to a Gershwin concert which he was prepared to hate but found he adored.

Ballet Hispanico at the Joyce Theater

Ballet Hispanico, Show.Girl..Photo Grant Halverson

his program, divided into three sections, showed the company in very different lights. Up first, Show. Girl, with choreography by Rosie Herrera, costumes by Diana Ruettiger and lighting by Joshua Preston, uses the “Cuban cabaret ethic” to put forth dances that don’t have much relationship to each other. Show. Girl opens with a line of women in columnar pink dresses with deep slits on both sides, moving rhythmically to silence other than the occasional slaps they give themselves. It’s a bit unsettling. After a time, they sing a banal song about a turtle and move in the creamy light, posing for one another and the audience.

Ballet 422, a Film by Jody Lee Lipes at Lincoln Center

The New York City Ballet dances Paz de la Jolla.

Just after Justin Peck goes on stage to acknowledge the applause as the choreographer of Paz de la Jolla, a new ballet, he leaves and goes backstage. He walks to a small dressing room where he takes off his dark suit, puts on makeup and his costume and, responding to the PA summoning dancers to the stage, goes back downstairs to perform in another ballet.

A tip for our readers: How to get the most out of New York Arts and The Berkshire Review for the Arts.
What if I hate reading on computer screens, even tablets?
We get occasional inquiries from readers about whether we plan to launch a print edition of our arts journals. The answer is that we've given it some thought, and we're still thinking about it.
It is not only our older readers who object to reading them online. There are even some millennials who would rather read from paper. One of our readers got the simple idea of using the sites as sophisticated tables of contents. She prints out each article on three-hole paper and files them in a loose-leaf album. I've devoted a lot of time to finding the very best print and pdf facility there is. Just click on one of the icons at the top right of the article and print!
Click here to make your tax-deductible donation to The Arts Press, publisher of New York Arts and The Berkshire Review. Or click on the notice in the sidebar. The Arts Press is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of The Arts Press must be made payable to“Fractured Atlas” only and are tax-deductible to the extent permitted by law.