Jane Comfort and Company premieres You Are Here at The Kitchen Jane Comfort has a formidable history as one who attacks with an intellectual cleaver subjects that most choreographers avoid: government policies, sanctioned torture, public apathy, gender stereotypes, beauty contests, talent shows. She deconstructed Shakespeare (Cliff Notes Macbeth, 1980) and Tennessee Williams (Faith Healing, … [Read more...]
Archives for 2016
Redefining Wilderness in Music and Dance
Choreographer Brian Brooks and composer Jerome Begin collaborate at The Kitchen. I don’t know why Brian Brooks titled his fascinating new work Wilderness, since the word conveys that there’s no man-made order involved, while his “wilderness” is precisely structured with a considerable amount of over-and-over repetition by eight black-clad dancers (costumes by Karen Young). On a white floor, … [Read more...]
Once Upon a Time. . .
American Ballet Theater mounts Alexei Ratmansky's The Golden Cockerel. It occasionally happens that a ballet from another era comes to us tangled in its own history, even as it tries to make sense of it. American Ballet Theatre’s production of The Golden Cockerel as re-imagined by Alexei Ratmansky is just such a work—gorgeous to look at, often comical, often perplexing. At the end of the … [Read more...]
Emerging from, Returning to Dust
Yvonne Rainer's The Concept of Dust: Continuous Project—Altered Annually. So, a woman walks into The Kitchen and stands hesitantly before the audience. Behind her, at the back of the performing area, five dancers wait; there’s a gap in their shoulder-to-shoulder line. The woman—it is choreographer Yvonne Rainer— warns us, fumbling a bit for words, that she has bad news for us. About … [Read more...]
Love Finds a Way
American Ballet Theatre revives its production of Frederick Ashton's La Fille mal gardée. If I had been able to write about American Ballet Theatre’s production of Frederick Ashton’s La Fille Mal Gardée before the company’s performances of it ended on May 30, I would have said, “if you’re having a bad day, go see this ballet.” So fragrant, so tender is its depiction of love, innocence, … [Read more...]
Stories Only Dance Can Tell
Juliette Mapp and Beth Gill present brave new works in New York. Once in a while you go to a dance performance and think you’re in a mysterious world, whose inhabitants are familiar to you. . .and yet. . .not. You think about them, ask yourself questions. Then you try to stop asking questions and just watch what they’re doing. That’s how I felt during two recent, deeply absorbing works: … [Read more...]
Speaking of Love
Alexei Ratmansky introduces Plato to American Ballet Theatre in its Lincoln Center season. Serenade after Plato’s Symposium is the twelfth ballet that Alexei Ratmansky has choreographed for American Ballet Theatre in the past seven years; clearly he takes his position as the company’s artist in residence seriously. This beautiful new chamber ballet is subtly different from anything of his … [Read more...]
Dancing with Music
The Mark Morris Dance Group performs in its own Brooklyn space. Music often takes Mark Morris in directions I couldn’t have anticipated, as the programs for his company’s season at the Mark Morris Dance Center make clear. Only occasionally does a score’s history enter the picture, and, if it does, it enters with an enigmatic twist. His 2005 Cargo is set to Darius Milhaud’s La Création du … [Read more...]
Is This How It Ends?
Tiffany Mills premieres After the Feast at La MaMa Experimental Theater Club. Tiffany Mills titled her latest work After the Feast, and the program note for its premiere during the annual La MaMa Moves! Festival asks the spectators to imagine: “an urban dystopia caused by vanishing resources.” In my mind, that includes considering the reckoning that may come as a result of our depredations … [Read more...]
The Sleeping Beauty Wakes in a Brave New World
Katy Pyle's Ballez performs Sleeping Beauty and the Beast in the La MaMa Moves Festival. This is, I promise, the last time I will blame acute jet lag for my sense of disembodiment and lapses in understanding. It kicks in the moment I go to the La MaMa box office, and there seem to be no tickets in my name for Katy Pyle’s Sleeping Beauty and the Beast. Once in the theater, I don’t read the … [Read more...]