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Fair Winds from the West

Seth Orza as Balanchine's Apollo with (front to back) Carla Körbes, Maria Chapman, and Lesley Rausch. Photo: Lindsay Thomas

Lincoln Kirstein has written that while the New York State Theater (now the Koch) was under construction, George Balanchine wandered in and saw that the pit would hold no more than 35 musicians. He immediately threatened to withdraw the New York City Ballet as the principal designated tenant. The pit was redesigned to accommodate 70 players. Had Balanchine, to whom music was so important, visited City Center during the Pacific Northwest Ballet’s recent season, he would, I’m sure, have been overjoyed to hear the scores for three of his … [Read more...]

Men at Work

Paul White in The Oracle, by Meryl Tankard and White. Photo: Ian Douglas

Neal Beasley and Bradley Teal Ellis staged their joint appearance on one of Dance New Amsterdam’s SPLICE series more intimately than other choreographers sharing a SPLICE program have done. They took the word “splice” seriously—dividing Ellis’s (american) guilt and Beasley’s every adam belonging to me into three parts, and splicing them into each other in alternating segments. They evidently saw, too, the kinship of their pieces—the way both examine in very personal, oblique, and fragmented ways the business of growing up gay in … [Read more...]

Morris, the Night, and the Music

Fox attacks Cock, all react. Photo: Stephanie Berger

When it comes to selecting music to spark choreography, Mark Morris is an omnivore. He gives loving, uncondescending attention to popular songs like George Gershwin’s “Someone to Watch Over Me,” Jerome Kern’s “Two Little Bluebirds, or (once) Yoko Ono’s “Dogtown,” as well as digging into scores by Bach, Stravinsky, Schumann and other musical giants. To Lincoln Center’s Mostly Mozart Festival, from August 18 through 20, the Mark Morris Dance Group brought new and recent dances set to compositions by Stravinsky (Renard), … [Read more...]

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