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SCENTS & SENSIBILITY

“Fashioning the Modern Woman: The Art of the Couturière, 1919 – 1939” / The Museum at FIT, NYC / February 10 - April 10, 2004 “Temptation, Joy & Scandal: Fragrance & Fashion 1900-1950” / The Museum at FIT, NYC / February 24 – April 10, 2004 Valerie Steele’s argument is couldn’t be simpler. In the two-decade period between the World Wars (1919-1939), she points out, couturières, not couturiers—gals, not guys—dominated the field of designing for women. Before that, males held sway, as they have ever since. “Fashioning the Modern Woman,” the … [Read more...]

Buglisi/Foreman Dance

The company [is] admirable for its insistence on live music and its terrific dancers, among them Christine Dakin, a paragon of experienced artistry, and the very young and altogether luminous Helen Hansen. Village Voice 2/25/04 … [Read more...]

BALANCHINE AT HOME #8: ORDER IN THE COURT

New York City Ballet / New York State Theater, Lincoln Center, NYC / January 6 – February 29, 2004 The Sleeping Beauty, that touchstone of classical ballet, addresses and illuminates several absorbing issues—among them, hierarchy. This is only natural. The work was created in 1890 in St. Petersburg. Pytor Ilyich Tchaikovsky, its composer, and Marius Petipa, its choreographer, lived and worked under the rule of the tsars. And classical ballet itself, in its training methodology and in the operation of the institutions that make … [Read more...]

Fugate/Bahiri Ballet NY

The troupe was at its ravishing best in two small masterworks of lyrical dancing—Antony Tudor's serene Continuo,with its miraculous floating lifts, and George Balanchine's Valse-Fantaisie, a windswept bagatelle that restores your faith in romance. Village Voice 2/13/04 … [Read more...]

Jody Oberfelder Dance Projects

Many of the solos, duets, and small-group vignettes that constitute [Landmarks of Dreams] have a colorful, playful air typical of a circus with theatrical aspirations, their vocabulary cheerfully mixing acrobatics, ethnic dance, and the ingenious cantilevering of contact improv. Village Voice 2/13/04 … [Read more...]

BALANCHINE AT HOME #7: DARLING

New York City Ballet / New York State Theater, Lincoln Center, NYC / January 6 – February 29, 2004 The evening before Valentine’s Day, Megan Fairchild, whose charming looks and diminutive stature echo her surname, made a notable local debut as Swanilda in the New York City Ballet’s Balanchine-Danilova Coppélia and was promoted to the rank of soloist. Not a bad day for a nineteen-year-old who joined the corps de ballet less than a year and a half ago. What do we know about Fairchild? She trained primarily in her native Salt Lake City, at the … [Read more...]

BALANCHINE AT HOME #6: RESETTING GEMS

New York City Ballet / New York State Theater, Lincoln Center, NYC / January 6 – February 29, 2004 At the time of its creation for the New York City ballet in 1967, Balanchine’s Jewels was much touted as the first program-length plotless ballet ever. The claim—good marketing fodder, like the anecdotes about the choreographer’s “fondling” a cache of gems, courtesy Van Cleef and Arpels—is tenuous. It is actually three discrete ballets—Emeralds, Rubies, and Diamonds—each independent of its sisters, as we saw subsequently, when Rubies … [Read more...]

BALANCHINE AT HOME #5: A WORD ABOUT “CONCERTO BAROCCO”

New York City Ballet / New York State Theater, Lincoln Center, NYC / January 6 – February 29, 2004 Dancing, which happens in space and time, is three-dimensional. (For this reason, the camera can never quite seize it.) At the New York City Ballet, in the two decades that have elapsed since George Balanchine’s death, the master’s repertory has drifted ominously toward the two-dimensional condition Edwin A. Abbott described in his Flatland 120 years ago. I call our world Flatland, not because we call it so, but to make its nature clearer to … [Read more...]

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