Author: jason

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Alvin Ailey: Global Voices

Second night and a new program, Global Voices, with Alvin Ailey American Dance Theater at the Lincoln Center tonight.

The enduring qualities of “Revelations” finally came out as I watch the piece a second time. I grew up and am still irreligious, and so gospel is a foreign concept to me. I do like the colors, the movements, and stage construction in the water/river scene, as well as the dynamism throughout the final “Move Members, Move” section.

“Walking Mad” is a strange juxtaposition with a comedy beginning, a fascinating site-specific dance set to marching music in the middle, and a tense duet at the end. The middle section involves a wall that doubles as a dance floor (when tilted), as a room (when folded into two walls to form a confined space), and as secret passage ways (when dancers go through the hidden wall openings). I like the first two sections individually but as a whole the work felt incoherent. Then again, I just saw Merce Cunningham last night, and so I should be open to experimentation.

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L.A. Dance Project

Fun times with L.A. Dance Project at the Joyce Theater yesterday.

Justin Peck’s “Murder Ballades” starts out with child-like plays, blossoming relationships, and ends with dynamic spirited solos by each of the six dancers. Shoutout to David Adrian Freeland Jr for his turns! Wow! I also enjoy the choice of having male dancers do the more grounded movements and the female dancers leap into the air in the solos.

Benjamin Milllepied’s “Orpheus Highway” is the composite of a dance film, live dancing, and live music. It’s one of the few dance/video hybrid works that actually makes sense! I find the beginning a little distracting, but everything comes together nicely in the chase scene, the parking lot scene, through the railway track finale.

During the post-show curtain chat, we learnt that layers of dancers/musicians are supposed to mirror the original music which is composed for three string quartets. I’m mot sure if the motive came through, but it’s certain an interesting piece of work. Look forward to seeing LA Dance Project’s other program tomorrow!

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Alvin Ailey American Dance Theater

Beautiful performance by Alvin Ailey American Dance Theater at the Lincoln Center tonight.

My first time seeing Alvin Ailey live. Could you believe that after all the classes at the Alvin Ailey Extension?

My favorite of the night goes to “Mass”. Am awed by the way the dancers gracefully glide across the dance floor. Their fluid motions and elasticity. Not just in individual dancer’s movements, but the whole group respond together and to each other so beautifully. Finally, when the drum kicks in (there’s a live band on stage), everything goes into high gear. Gracefulness turns into precision and energy. Just incredible!

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On Stage with The Great Comet

The Great Comet: Re-watched the show and finally experienced its true magic!!! More more more! I want to go back again already.

I got my onstage seating this afternoon. Center table. Frontmost chair. First audience member behind Pierre’s Study. I was literally in the spotlight as it shined on Pierre and Natasha who stood inches away from me.

Love love love the immersive and interactive experience.

Playboy Anatole toys with Natasha, turns around, leans into our table, and makes a face to let us know what he really wants from the young girl. Natasha looks us in the eyes, as she sings and pours her heart out. Violinist plays to our table. We scream at the top of our lungs and cheer on the dancers in Balaga.

Absolutely love the story and the cast’s performance.

Denée Benton is incredible as she draws us into young Natasha’s mind: her insatiable desire for love and attention, her conflicting sense of responsibility and pleasure, and her eventual sadness and regret.

Josh Groban perfectly delivers “Dust and Ashes” and “Pierre and Natasha” to capture the sentiment of two acts. The hopeless loveless marriage that has entrapped Pierre, and the same reckless careless attitude that brought down Natasha too. Yet, despite their sorry states, Pierre comforts Natasha and she returns one last grateful glance. In that moment, Pierre understands that perhaps, just perhaps, love will come again.

Lucas Steele is even more exuberant and flamboyant as Anatole today.

Ashley Pérez Flanagan, understudy for Sonya, beautifully delivers another one of my favorite songs, “Sonya Alone”. Ashley perfectly captures Sonya’s difficult distressing choice to remain a true friend to Natasha by turning against her, in the hopes that someday Natasha will forgive her. The song is a major turning point in the story. Bravos for the wonderful performance and nailing the transition.

Finally, lighting and scene designs are even more amazing seen from onstage.

All the table lamps placed throughout the orchestra and balcony respond to the story, lighting up the audience’s faces as part of the scene design. Wow!

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Swan Lake: Misty Copeland

Second night of Swan Lake with American Ballet Theatre. We all fell in love and died with Misty Copeland and Herman Cornejo.

Absolutely love Misty especially her as the black swan. The sharp dramatic releases as she pushes away from Prince Siegfried. The gaze of her eyes, constantly scanning the room and hunting for her prey. Odile is pure evilness. Wow!

Tonight was ballet theatre at its finest. I could feel the entire theater falling in love with Misty and Herman by the Lakeside, and crying audibly as they drown themselves. I had tears in my eyes as the lovers re-unite in life after death.

And then, we were treated to more delicious dancing: Herman’s gorgeous leaps where he floats in the air forever, ever, and ever. Misty and Herman’s incredible coda in Act III. Lovely pas de trois by Skylar Brandt, Cassie Trenary, and Jeffrey Cirio. And James Whiteside, as the flamboyant von Rothbart, commanding the Great Hall.

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Swan Lake: Isabella Boylston

Swan Lake at American Ballet Theatre tonight. What a wonderful show!!

I finally saw Isabella Boylston in a lead role for the first time, and got to meet her during the backstage tour! Though still nursing an injury, Isabella captured her roles perfectly: magnificent as Odette and playful if not mischievous as Odile. No fouette sequence tonight, but her lines and extensions are just gorgeous. Wishing you a speedy full recovery, Isabella.

Not to be outdone, Alban Lendorf was impeccable as Prince Siegfried. I love their duets but also Alban’s solos at the Great Hall: so powerful yet so musical. As if two-and-half hours of ballet wasn’t exhausting enough, Alban made a grand exit at the very end. Jetting across the stage and taking one of the highest and biggest leap, following Odette, to his death. Wow. Talk about partnering and chemistry. 😉

Bravos to Skylar Brandt for going all out in the pas de trois at the Birthday Party. Having heard wonderful things about her debut as Medora in Le Corsaire, I was excited to see her tonight. And what gorgeous leaps and turns! I will definitely be looking out for Skylar in the future.

p.s. Read more about Isabella and Alban’s partnering in New York Times this week.

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Wonder Woman

Yesssss, Wonder Woman!!!

“I expected to like Wonder Woman. I didn’t expect it to be such a relief.” wrote Caroline Framke in Vox. Well put, Caroline. I couldn’t have phrased my reactions any better.

I am so glad (and so relieved) to finally see a heroine who is proud, strong, and intelligent… who carves out a story of her own without being limited by the society’s (or entertainment industry’s) gender stereotypes… and to see other male characters react in ways that real men should do (or any real men with a secure sense of self should do): Show our superhero respect, admire her strength, and let her take the reins.

Now that I’ve got my jitters out of the way, I will definitely be going back again soon. Re-watch the movie knowing I can kick back, relax, and enjoy dazzling fight scenes without having to take a break from being a feminist.

Caroline Framke: Wonder Woman isn’t just the superhero Hollywood needs. She’s the one exhausted feminists deserve.

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Come From Away

I have a new favorite musical!!!

Finally saw the last of the Tony Awards Best Musical nominees tonight. What an incredible show! What an engaged audience! A large Newfoundland flag flew high over the mezzanine at the end of the show. Must be a lot of Canadians in attendance today.

Definitely my pick for best musical this year. Quite possibly, the show might even have edged out “Hamilton” to become my all-time favorite.

“Come From Away” is set in Newfoundland, an island on the eastern tip of Canada, in the days following the 9/11 attack. It’s about the 38 flights and 7000 passengers who were diverted to Gander, Newfoundland when the US airspace was shut down. It’s about the 9000 townspeople who took in the “plane people” even though it’s a huge resource and logistic challenge, and welcomed everyone regardless of their nationality, religion, and sexual orientation.

Among the stories: American Airlines’ first ever female captain (“Me and the Sky”). Passengers who met there and then, and later married each other (“Stop the World”). A gay couple who were initially afraid, only to learn how open the Canadians are. A mother who lost her firefighter son. And so on.

Over the past 15 years, the “plane people” eventually put together $2 million in scholarship for the town’s high school students, for the kindness and generosity shown to them at a time of need.

It’s a musical that will melt your heart. A musical that celebrates human kindness in the midst of a disaster. A musical about a heavy topic but delivered with so much humanity, so much humility, so much genuine care that you can’t help but laugh along with the characters, as they try to address the surreal events unfolding in front of their eyes.

Most importantly, Come From Away will make you believe in people, in humanity again. ❤️