Posted in Alexei Ratmansky, American Ballet Theatre, ballet, balletic, dance, dance making, dancing, modern American dance, modern dance, modern dance meets ballet, Paul Taylor American Modern Dance, Paul Taylor Dance Company, Uncategorized

Modern ballet

Dance evolves with the times as do all things, artistic or run-of-the-mill. It is what we need to keep in perspective as we watch young choreographers take on the creation of the next new ballet. They will be influenced by what has been termed modern dance, a genre dating back to Isadora Duncan’s day and represented prominently today by, among others, Paul Taylor (and his) American Modern Dance.

Modern dance is meant to be less formal, to eschew the stodgy. Not that Jerome Robbins, or George Balanchine, for that matter, can be thought of as stodgy. The ballets that are stepping, best foot forward, these days, tend to –not exactly relax, since many are as frenetic as they are innovative– be freer in mixing the metaphors of dance forms.

Lauren Lovett and Peter Walker, two of the more recently minted NYCB dance-makers, have emerged as rising stars of ballet. Lovett tends towards a romantic view of the classical. Walker is a bit of a renegade, although his second work, the 2018 dance odyssey, moves to a more traditional line.

The older guard is equally willng to mix things up. At 40, and after many years dancing as a principal with New York City Ballet, and working with his own troupe and as head of the Paris Opera Ballet, Benjamin Millepied is an elder statesman in the world of choreography. Millepied, whose Neverwhere was a lovely revelation at a recent NYCB performance, is a case in point. His work uses classical style married to contemporary scores–Neverwhere is set to music by Nico Muhly– and refreshing ideas about movement. Alexei Ratmansky, Artist in Residence at the American Ballet Theatre since 2008,  has given NYCB some delightful novelties, as well. His Odessa and Songs of Bukovina are works that join diverse styles of folk and ballet in beautiful complexity.

All of the action described here- ABT, NYCB, PTAMD– takes its place at Lincoln Center.
Paul Taylor American Modern Dance is in the midst of their spring season through the end of March. The New York City Ballet returns to the David H. Koch stage in April for their spring season. American Ballet Theatre begins its Metropolitan Opera House season in mid May.

Posted in #critique, athletic, ballet, balletic, classic, connectivity, dance, dance making, dancing, empowerment, high expectations, history, in repertory, joy, legacy

Howdy, Partner

Partnering has developed a new look as the 21st century progresses. Partly, this is a reflection of a more liberal social milieu. Gender fluidity is the term of art for this LGBTQ-era. Same sex marriage, mixed use bathrooms, dorms which house both boys and girls on the same floor are part of our new-age maturity.

Equality has certainly not come full-circle. The workplace and the quotidian are still often off-kilter and exhibit the same kinds of inequities that have been with us forever. We are working on it, much as the dance makers are working on many more diverse ways to partner.

Many choreographers– Justin Peck, Christopher Wheeldon Benjamin Millipied etc.– experiment with male on male lifts, and Jessica Lang has a woman catch and release her male partner at one point in Her Notes.

Roles can be reversed for Mr. Mom and his executive wife. We’ve come to accept that and to expect to see it in our arts and entertainments. The glass ceiling– and other prejudices and biases– will be broken and taken down in tiny steps rather than with crowbars.

Posted in American Ballet Theatre, ballet, children's shows, comedy, dance, drama, events, kid-friendly, Manhattan Theater Company, Matthew Bourne, musical theater, The Women's Project, theater, theatrical events, Theresa Rebeck, writing about NYC

What’s on your calendar?

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from cafepress.com

As always, and as our standard preface for these listings, there’s a lot to do and see. New York City theater can keep a body very busy.

Listings for October-November and maybe even December 2017

PortugueseHow time flies? Is it almost the end of this year? Could Halloween be just a week away?

Women’s Project gave this a go in 2016, and it is being reprised at the Westside Theatre.
The cast in Stuffed, playing through February 18th, has changed, except for creator and star, Lisa Lampanelli, and under the same director, Jackson Gray,  but it is still a very relateable comedy. You or someone you know has been on and off the diet wagon for a long time.  Everyone of us has a relationship to food– love it or loathe it.  Can this lead to funny circumstances? With Lisa Lampanelli giving voice to the issues, you bet it can.

Meanwhile, currently at Women’s Project Theatre, What We’re Up Against, a new dark comedy by Theresa Rebeck, playing from October 28th to November 26th, is directed by Adrienne Campbell-Holt, and features Skylar Astin, Marg Helgenberger, Jim Parrack, Krysta Rodriguez, and Damian Young.

John Patrick Shanley writes wry comedies based in realism with surreal twists. Examples include Danny and the Deep Blue Sea, as well as Moonstruck, in which Cosmo’s moon overwhelmes the landscape and Cher’s Loretta tells Nicolas Cage’s Ronny Cammareri
that he’s a wolf who chewed off his own hand. His latest, The Portuguese Kid, at MTC at City Center Stage I through December 3rd, stars Jason Alexander as a lawyer beleaguered by family and clients.

 

Listings are only represent some of the presentations on NYC stages

American Ballet Theatre is in week two of its two week run through October 29th at the David H. Koch at Lincoln Center. Lots of premieres, including a Millipied World Premiere, as well as classics from Frederick Ashton and Jerome Robbins.

Matthew Bourne has a new ballet, his first in many years, which is spending five days on the City Center mainstage, from October 26th through November 5th. There’s a rotating cast for The Red Shoes, and a suggestion that children over the age of 8 would enjoy it.

Speaking of the kiddies, take them to Symphony Space on the weekend with Just Kidding, a series of programs dedicated to events for children. This weekend, there is a Halloween fun day planned for Saturday, October 28th at 11am with Joanie Leeds who will lead the musical costume party. Check out the full schedule at the Just Kidding website.

On Saturday, November 4th, the Symphony Space program offers a new way to teach your little ones new languages. Future Hits, a Chicago rock group, brings their irrestible mix of song with learning to the Just Kidding series. One show only at 11a.m.

Zoe Kazan, actress, playwright, has written a new dystopian play, After the Blast, which is at LCT3 in the Claire Tow Theater through November 19th.

Tired of the dystopian world view? Sarah DeLappe’s The Wolves,  about a girls’ soccer squad, is coming to L.C.’s Newhouse Theater beginning November 1st. The team are highly competitive but there is no end-world scenario here. The Wolves had its well-received premiere with Playwrights Realm last year.

John Leguizamo gives us lessons in Latin History for Morons, another Broadway transfer from the Public, to Studio 54 through February 4, 2018. (You may recall that Hamilton went this route….) Leguizamo was inspired by the ignorance of Latino history in his son’s school to create this primer. More information on Latin History for Morons can be found at its official webpage.