Category: DANCE

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Garth Fagan Dance

“Find the good and praise it.”

What a treat tonight with Garth Fagan Dance at the Joyce Theater filled with positive energy, strength, and beauty.

I was impressed by Garth Fagan’s philosophy. From the curtain chat:

“In acting, music, painting, we revere the older artists. Why the reverse in dance?” The oldest member of his company, Steve Humphrey, is still performing at 65.

Equality. Men and women dance the same way in his company. Women jump as men do, and don’t wait for the prince to come.

Opening tonight’s performance, “Prelude” started out with dancers stretching, as if warming for a dance class. The movements gradually built up to form explosive leaps and kicks. The dynamic sequences were interlaced with stillness. Everything was performed with a smooth and relaxed style. Altogether, “Prelude” which Garth Fagan created to help introduce his new dancers, is a fascinating juxtapose of power and beauty.

“Estrogen/Genius” is a lovely work with five women dancing, playing, and enjoying each other’s company. In keeping with the themes of equality and positivity, the dance is accompanied by the voice of seven men singing about healing and saying positive things about their female counterpart.

“Wecoo Duende”, choreographed by Norwood Pennewell, is yet another dance filled with positivity about an alluring spiritual guide taking a people through a spirit quest.

“Life: Dark/Light”, capping the show, combined all the amazing elements of the night into one work. It’s fun, dynamic, and powerful. The dancers began the piece with a seemingly unremarkable walk, back and forth across the stage. Yet, surprises started to pop up. The energy and emotions continuously built up until the stage was filled with stunning movements.

Finally, the costumes for “Life: Dark/Light” — colorful patterns under a thin layer of white — perfectly reflected tonight’s dance: Subtle, humble, and yet unmistakably beautiful.

Bravos to all the dancers: Norwood Pennewell, Steve Humphrey, Natalie Rogers, Vitolio Jeune, Guy Thorne, Wynton Rice, Adriene B. Hodge, Andrew David O’Brian, Davente Gilreath, Sarah Herbert, Nina Price, Le’Tiger DeAnte’ Walker, Rishell Maxwell.

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The Red Shoes

Ashley Shaw was amazing in the Red Shoes, with gorgeous techniques and a potent personality that wooed the audience.

I’ve seen snippets of Matthew Bourne’s work online, but it’s a whole difference experience to watch two hours of dance theatre. I especially enjoyed how he created several highly detailed scenes without any spoken words. For example, Lady Neston’s Soiree (portraying boredom and dullness in a theatrical way).

The show has some nifty fusion of social and concert dance — combining “real world” swing and jazz-era movements with the beautiful lines of concert jazz dances.

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Dresden Semperoper Ballett

Dresden Semperoper Ballett at the Joyce Theater: a lovely performance and an educational curtain chat.

My favorites tonight go to both of David Dawson’s choreographies. The U.S. premier of “5” is lively and dynamic. The five dancers not only filled the stage and appeared to jump out of the stage at times, with the incredible amount of energy they had. I enjoyed the playfulness of the dancers and their interactions with the audience, especially by the lead dancer Alice Mariani. “On the nature of daylight” is also playful, with fun lifts while turning. The U.S. premier of “Vertigo Maze” has a satisfying sense of synchronization, partnering, mirroring amongst the dancers, that escape my ability to describe/articulate in words.

Three things I learnt from tonight’s curtain chat with Dresden Semperoper Ballett.

The difference in funding in Germany vs. U.S. (rather, the lack of funding in the U.S.) means that while Dresden Semporeoper Ballett still needs to fill the house (they’re 93% soldout yearly), they can take greater risks in programming and allow dancers to explore and immerse in many different styles. From Gaga to Martha Graham. From performing modern dance one night to Swan Lake the next.

The company advocates an open culture. Artistic director Aaron Sean Watkin describes his philosophy as treating every dancer like an adult, as a person, and not just an extra dancer. By instilling confidence in the dancers, they become more pro-active in their learning. Dancers should be thinking and filling their minds with information, and be more mentally than physically tired. I like the philosophy!

Finally, I also learnt something new about the Germans. Germans love to learn the ideas behind a piece of choreography, and seek out the program notes!

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Pinocchio by Jasmin Vardimon

Pinocchio by the Jasmin Vardimon Company at Sadler’s Wells was incredible this evening.

What is it to be human? To dream, to strive, and to love. Tonight I felt the aspiration, sadness, loneliness, and love… both on stage and deep inside myself as I laughed and cried with Pinocchio.

Absolutely loved this piece of dance theatre: a wonderful choreography that brought a marionette to life, and even more amazing dancers who executed the movements.

So stunning was the movement quality that I had to rub my eyes multiple times to truly believe I was seeing real people. Nobody could possibly move like so?! No dancers could possibly partner so well and be so coordinated?!?!?! Especially memorable scenes include: chapter 1 when Pinocchio first came alive, chapter 4 at the Marionette Theatre (insane puppet work whereby two dancers controlled a third “puppet” dancer), chapter 6 at the Inn (especially the human ceiling fan and the two lovers who were portrayed by four feet), and chapter 13 when Pinocchio was taunted and bullied (and when I cried and others audibly gasped). Other beautiful moments: the Fairy and the start/ending scene with a chain of dancing toys.

Creative set design that floated in the air. Expressive lighting design that enhanced several key scenes.

Wish I had come yesterday and seen the show a second time.

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The Royal Ballet and Northern Ballet

The Royal Ballet and Northern Ballet at the Royal Opera House, London.

Six dance companies in the UK came together for a celebration, presenting works by Kenneth MacMillan.

I was told it’s an unprecedented collaboration. If only I had arrived earlier, I could have also seen the English National Ballet, Scottish Ballet (who were superb in New York earlier this spring), Birmingham Royal Ballet, and Yorke Dance Project as well. This national festival continues until November 1st.

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Tero Saarinen Company

​Tero Saarinen Company at the Joyce Theater.

One of the more polarizing and abstract performances I’ve seen. As I sat in the 7th row of the theater, I counted at least 5 audience members in front of me who (in the middle of the show) stood up and walked out.

At least to me, the abstractness wasn’t the issue. I didn’t particularly enjoy the execution, but I was mostly bothered by the content.

Tero Saarinen explained at the curtain chat that “Morphed” as performed by 7 male dancers is about masculinity. More specifically, in his own words, there are “too many numb angry men in the world.” He wants to show that men can have sensuality and sensitivity, that these “weakness” can actually make men stronger, even though it’s often hard for men to be fragile. A sizable group stayed for the post-performance talkback, and were enthusiastic about the discussion.

However, here’s my main objection to the show. I’m so sick and tired of even hearing about these “male roles” perpetuated by a patriarchal society.

Alexandra Petri wrote in her opinion piece in the Washington Post yesterday, in response to the Harvey Weinstein sexual assaults: “I am sick of having to suffer so a man can grow. … I am not the one who should be ashamed that you [Harvey Weinstein and the likes] have done these things. I am not here to make you see the error of your ways. I am here to get through my life every day without inhaling thick lungfuls of smoke.”

Coincidentally, tonight’s performance was momentarily interrupted and delayed because of a medical emergency when a man had a seizure. During the curtain chat, an audience member near the man recalled the incident and described him as “the stereotypical New Yorker on a date, aggressive, and possibly intoxicated.” The wording including “stereotypical” was hers, not mine. The adjectives associated with the stereotypical men on a date in New York were interesting to note, if not upsetting.

Despite being unconscious when the house lights first came on, and then slumping into his seats twice, the man was still disobeying the Joyce Theatre (female) staff’s directions — while she was on the call with 911, relaying messages from operator, trying to save his life). When the NYFD arrived a few minutes later, he had regained some strength, and decided to push his way past the first respondents, leaving the medical personnels stunned — standing alone in the middle of the theater with their stretcher and first aid kits on their hands. Well done, sir! What a great display of your masculinity! What a waste of 15 minutes of 400+ people’s time, critical medical resources, and care from the Joyce Theater staff.

I’m sorry that I stayed for the whole show. Should not have wasted 90 minutes for these “men” to grow up and be a useful member of the society.

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ABT Fall Gala

The American Ballet Theatre fall season opened tonight with the Fall Gala performance.

My favorite goes to Christopher Wheeldon’s Thirteen Diversions. Love the pairing of Skylar Brandt (full of energy, happiness, and power) and Sarah Lane (gentle and graceful). Other memorable moments include Stella Abrera and Thomas Forster‘s duet (beautiful with a dramatic opening when they, dressed in white, stood against a sea of dancers in black) and Misty Copeland and Gray Davis’ second duet.

The world premiere of “The Gift” is stunning too. Happy. Dynamic. Uplifting. Choreographed by Jessica Lang and performed by 40+ dancers dressed in all white from the ABT Apprentices, ABT Studio Company, and the Upper 2 and 1 students at the Jacqueline Kennedy Onassis School. I love Jessica’s use of (so many) dancers on stage. There’s both structure and spontaneity. Everything just flows, with beautiful transitions, dramatic build-ups, and the gorgeous lines. Love the wonderful energy and the passion from these young dancers. Bravos to a lovely performance!

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Choroegraphers and Cocktails

“Choroegraphers and Cocktails” by the Joyce Theater at Gibney Dance tonight.

Had a wonderful time seeing the many wonderful artists in rehearsal including my favorites Shanna Irwin and Youngsil Kim and new members Eriko Sugimura and Brandon Taylor Gray of Complexions Ballet, reconnecting with swing dancers Kevin Clark and meeting new friends Gaby Cook.

Naturally, the two penguins got a little wild from the euphoria of seeing so much dancing… or maybe they’re just tipsy from the cocktails.