Performing Lucinda Childs' Dance (1979) / Music by Phillip Glass / Film design by Sol LeWitt
This mesmerizing work leans into the repetitious tonal music for which Phillip Glass is known, using the music to not only guide the choreography but also building on the theme with LeWitt's video overlay that displays the same choreography at different scales and with a variety of framing techniques. The physical stamina of these dancers is insane to watch, and the overall result is a beautiful, cohesive, and alluring piece. New York City Center Ballet BC, The Statement Choreography by Crystal Pite One of the most mesmerizing and engaging performances I've seen recently. There are plenty of productions that are plays with dance or plays with music, where a character sings a song or there is a dance scene integrated into the plot. But I've never seen a dance that is also a play. "The Statement" feels like just that. There is no music, except for some background noise interludes. Instead, there are voiceovers for each of the 4 dancers on stage. The dancers are acting out the plot but in an exaggerated way that shows their emotions and reactions to each other. The play felt very Sartrean or Orwellian, with no character names or specific details – it is the story of a situation in a nameless corporation, a dystopian world, or an authoritarian society. The subtle and coordinated movements of the dancers is incredible. As the voiceover loops and distorts and escalates, the speed of the dancers' movements increases and decreases to match. I particularly enjoyed watching from so far above the stage (our seats were in the last row of the balcony, from where you can almost imagine sky diving down to the stage); we could see each dancer's movements but also the full scene together, like a diaorama with miniature people moving in an automated, synchronized rhythm. Conrad Tao & Caleb Teicher, Rhapsody in Blue Choreography by Caleb Teicher Music performed by Conrad Tao I chose this program because of Caleb Teicher – at this point I'm basically a groupie. I think they are one of the most talented and enjoyable tap dancers to watch. But we had not seen Conrad Tao before, and the two together are an amazing duo. Teicher's performances are always so joyful and full of humor, and you can't go wrong with "Rhapsody in Blue." Gibney Company, OH COURAGE! Choreography by Sonya Tayeh Music written & performed by The Bengsons The finale of a program is often the strongest piece, and yet... there were only a handful of interesting moments here. I found my mind wandering throughout. Some of the moves in this performance were literally the typical modern dance choreography that I actively try to avoid (ie, rolling on the floor). Two of the songs, "Dying" and "Shake These Bones" (from The Bengsons), and the choreography for those portions, were very good and made me think about how the music is so important for dance – and yet, in the first piece we saw (see above) there was no music and it was far more engaging than anything in this piece. New York City Center Myles Frost was born to play this role. The full cast of dancers is incredible, and the other two MJs (Bane Griffith and Tavon Olds-Sample) are amazing... but Frost is mesmerizing. In most of the dance scenes I had to remember to consciously take my eyes off of him sometimes in order to appreciate the full ensemble. My main complaint is that the show is too damn loud - I love Michael Jackson's songs, but no one wants a headache at intermission.
The story focuses on the time period leading up to Jackson's 1992 Dangerous World tour, with a handful of flashbacks. We see Joseph Jackson (Apollo Levine) forcing nonstop rehearsal on the Jackson Five, and his abusive focus on Michael as the standout talent in the family. There are a few scenes showing Jackson's work with Quincy Jones, and some brief mentions of "allegations" but mostly we see Jackson as an artistic genius and his process for maintaining creative control over the upcoming tour. His demands are outlandish and expensive, but Jackson does not allow for compromises when it comes to his vision. After 29 years at the Orpheum Theater, STOMP will be moving on... and Google Maps will have to update the information for this longstanding East Village theater (only by searching STOMP will it appear). With an idea of what the show entails, but no definite memory of whether or not I went as a kid, we got tickets for the last week of performances. The theater brimmed with youthful energy as kids impatiently waited for the stomping to begin.
From broom sweeping to hose play to actually stomping and drumming, the tireless performers entertain all ages. There is a real family-friendly energy and both children and adults are delighted by simple, wordless hijinks on stage and the thrill of live interactive performance - there are rhythm battles between performers, a funny looking man doing a weird dance, call and response clapping that engages the eager audience (and seems to say, you too can learn to STOMP). At 1 hour and 45 minutes, one might argue that it was too long and got too loud - in fact, I will argue that (the literal trash can banging at the 1 hour and 20 minute mark felt like an insult to my ears) - but enjoyable nonetheless and a truly inclusive NYC experience that will hopefully return soon. An original musical revue of Irving Berlin songs that also tells the story of his long career. Amazing performers, delightful choreography, and a well-written book with interesting tidbits about Berlin's life and work.
Tap dance is one of the most joyful dance forms out there. All of the women in the show flash the broadest of smiles as they effortlessly tap across the stage. Dormeshia is a powerhouse, and lays it down during her solo time on stage. But all of the women are amazing dancers, and each gets her chance to improvise alone with the live musicians behind them on stage. The best moments are when everyone moves in unison or in reaction to each other.
Merce Cunningham's Summerspace
Christopher Wheeldon’s DGV: Danse à Grande Vitesse Justin Peck’s Partita Pure joy.
If you like watching people dance, go see this show. Everything Caleb Teicher touches is gold. I've never seen the original Swan Lake, but of course am familiar with the iconic music and some of the scenes. Matthew Bourne's production is completely different with (I'm told) clever nods to the original sprinkled throughout. It is sexy and contemporary and the choreography is incredible.
The Performers Every dancer in the production is truly great, and the Swan that we saw (Max Westwell) had incredible stamina and embodied the tall, dark, and handsome role perfectly. The Choreography Since I'm not as familiar with the traditional ballet, the stark difference in this production did not affect my experience. But even I know that no ballet is this sexy, and the way the men are able to so completely and gracefully embody swans is mesmerizing. The Story Again, the gender swap in the famous swan scene is not so scandalous when you haven't seen the original. And beyond that the story is completely altered, placed in a contemporary world with cell phones and a club scene and oh so much sexual tension between the Prince and the Swan. The Music Incredible, and on a loop in my head for days after. |
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