Tuesday, February 14, 2017

Impressions of New Chamber Ballet

New Chamber Ballet in Gravity. Photo by New Chamber Ballet.

While the new and the trendy garner the buzz in the dining scene, sometimes nothing beats your local restaurant. Reliable and satisfying, these places have lifelong customers for a reason.

New Chamber Ballet is the dance equivalent of a neighborhood favorite. Now in its second decade, the company presents short runs several times a year at City Center Studios. Shows boast a small but devoted following and a thoughtful, well-articulated point of view.

Like a maître d’, Artistic Director and Choreographer Miro Magloire cares about our comfort and pleasure. He introduces the pieces and, during intermissions, invites us into the lobby for wine and brownies. His friendliness extends into the dances, which are welcoming and easily digestible.

This program features five shortish ballets with . . .

To read the balance of my review, please visit The Dance Enthusiast. 

Impressions of New York City Ballet's New Combinations: Peter Martins, Pontus Lidberg, and Justin Peck

New York City Ballet in Justin Peck's The Times Are Racing. Photo by Paul Kolnik.

With all the turmoil gripping the United States, it feels decadent to settle into a plush seat at David H. Koch Theater for New York City Ballet's New Combinations program. But that's exactly what a bunch of people and I are doing — divorcing ourselves from the news cycle where each story is more unbelievable and heart wrenching than the last. For a few hours, we commit to beauty, to the power of art to transcend and elevate.

This iteration of New Combinations showcases the work of three choreographers: Pontus Lidberg, with his first commission from NYCB; Justin Peck, Resident Choreographer; and Peter Martins, Artistic Director.

Everything you know and love about ballet . . . To read the balance of my review, please visit The Dance Enthusiast.  

Thursday, February 9, 2017

Impressions of Vim Vigor's Future Perfect

Vim Vigor in Future Perfect at Baruch College. Photo by Arnaud Falchier. 

Do you enjoy being scared silly, having your scalp prickle and your heart gallop as danger looms? If so, Vim Vigor’s Future Perfect is for you. Making its New York premiere at Baruch College in a two-week run, this dance-theater work by Shannon Gillen filters the immediacy of live performance through a cinematic lens.

A generic campsite — one tent, a heap of smoking logs, several coniferous trees — looks innocent enough until the lights come up. Two men and two women are frozen in a tableau as strident music with ominous chords blares. One of the women begins to lip sync while aggressively flailing. Our stomachs contract: Something weird is going to happen.

But first . . . 

To read the balance of my review, please visit The Dance Enthusiast.  

Thursday, January 26, 2017

TDE Hits the Streets: Ruth Patir's "I dream of the elections"

Ruth Patir's I dream of the elections at Danspace Project. Photo by Ian Douglas.

If, for many, November 9, 2016 was the day hope died, then January 20, 2017 was its funeral. Everyone responded differently. Some took to the streets to march, to brandish signs, to shout to the heavens and back that hate and intolerance are not the American way. Others needed a sanctuary to heal, to take comfort from and to find camaraderie with others.

Danspace Project offers a literal sanctuary in St. Mark’s Church-in-the-Bowery during a free event on Inauguration Day — Ruth Patir's I dream of the elections. Anyone and everyone can take consolation in dancing, pizza, wine, and groovy beats, spun by DJ Jackson Randall.

Patir has strewn the carpeted risers with . . .

To read the balance of my article, please visit The Dance Enthusiast

Wednesday, January 18, 2017

Impressions of American Realness

American Realness' Karol Tyminski's This is a musical at Abrons Arts Center. Photo by Ian Douglas. 

For many, January is a month of self-reckoning and self-contemplation, a time to reset after the sweetmeats and sugarplums of the holiday season. Not so in the dance world. January equals opportunity. Presenters from around the globe tramp through New York’s slush and snow in search of work they want to book. For dancers and dance-makers, these see-and-be-seen weeks can be a game changer.

American Realness, a festival devoted to the artistic value of the other, joined the fun eight years ago. Founded, directed, and curated by Thomas Benjamin Snapp Pryor, it embraces the subversive and the political. This year's iteration featured fifty-three performances of sixteen productions over eight days at multiple venues. Choosing whom to see is an exercise in #FOMO.


To read about Kimberly Bartosik/daela’s Étroits sont les Vaisseaux, Big Dance Theater’s world premiere of Cage Shuffle, Karol Tyminski’s solo, a US premiere, This is a musical, and Trajal Harrell's Twenty Looks or Paris is Burning at the Judson Church (S), please visit The Dance Enthusiast