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All American

Tiler Peck and Robert Fairchild in Christopher Wheeldon's A Place for Us. Photo: Paul Kolnik

New York City Ballet, Lincoln Center, April 30 through June 9 In the Spring of 1988, the New York City Ballet put on an American Music Festival. George Balanchine had been dead for five years, and the two Ballet Masters in Chief, Peter Martins and Jerome Robbins, commissioned enough new ballets to keep dancers, guest choreographers, and resident choreographers rushing in and out of the company’s studios, gnawing on health bars. Was this Eliot Feld’s rehearsal? No, it was Bart Cook’s. Then when was Martins scheduled? Not too many … [Read more...]

Flaming Magic and Goofy Girls

Natalia Osipova in Alexei Ratmansky's new Firebird for ABT. Photo: Gene Schiavone

One of the most surprising things about American Ballet Theatre’s new Firebird is how Russian it isn’t. When Serge Diaghilev commissioned 27-year-old Igor Stravinsky to write his first ballet score, one of the impresario’s continuing aims was to acquaint Paris with Russian music and culture. L’Oiseau de Feu premiered in 1910 with a wandering Tsarevitch as its hero and a magic bird as its ballerina. All manner of colorful ogres guarded the maidens that the evil sorcerer Kaschei had captured. Although ABT’s Firebird was choreographed … [Read more...]

It’s All Wheeldon

Wendy Whelan and Robert Fairchild in Christopher Wheeldon's Les Carillons. Photo: Paul Kolnik

Trying to trace Christopher Wheeldon’s career, you might decide he has a vagabond streak that tugs against a now-and-then yen for stability. As a young dancer and choreographer-in-waiting, he left Britain’s Royal Ballet for the New York City Ballet, became NYCB’s resident choreographer from 2000 to 2008, started Morphoses/The Wheeldon Company while still affiliated with NYCB, pulled out of that in 2010, and has been making ballets for other companies all along. Therefore, it would be risky to imagine that, just because on Saturday, … [Read more...]

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