Category: The Joyce Theater

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Ballet Hispánico at the Joyce

Ballet Hispánico. April 11th at the Joyce Theater.

Tonight’s program featured two of my all-time favorite choreographies.

The bold and visually stunning “Línea Recta” by Annabelle Lopez Ochoa. During the curtain chat, the discussion focused on the contrast between Ballet Hispánico’s strength in partnering and the lack of contact in Flamenco (based on which the piece was created). I thought it was fascinating that Annabelle was able to create the connection between her dancers with limited physical touch.

The powerful story of “Con Brazos Abiertos” by Michelle Manzanales. Ive seen the piece four times, and am still touched by its narrative and feel empowered by its ending. Every single time.

Both of the new works required additional interpretation at the post-curtain chat, for me to appreciate their significance.

“Waiting for Pepe” had several unusual and beautiful choreographic moments. However, without knowing the play “The House of Bernarda Alba” on which the dance is derived, I had trouble following the story arc (e.g., Why is there a chicken lit in neon lights above the stage???), until it was explained by the choreographer Carlos Pons Guerra afterwards.

Similarly, “Espíritus Gemelos” told the story of two Spanish artists, Federico García Lorca and Salvador Dalí. I didn’t grasp the significance of their relationship, until after the curtain chat.

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Giselle by Dada Masilo

Throwback to a few shows that I enjoyed this year, but haven’t had a chance to write about…

“Giselle” by Dada Masilo and the Dance Factory was amazing!!!

The dancing was energetic and powerful. The alternate ending was how I always imagined the story of Giselle should have ended. Bravos for creating a character and a story that’s believable!!

April 5th at the Joyce Theater.

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Tulsa Ballet

Tulsa Ballet at the Joyce Theater on Wednesday.

What an amazing group of dancers!!! Strong. Powerful. Musical.

I enjoyed learning, at the curtain chat, about the extensive effort the artistic director, Marcello Angelini, put into searching for and recruiting talented dancers. Many candidates don’t know what the company or the city has to offer, but those who come absolutely love dance…. and receive a good contract (40 weeks with benefits) and get to dance a lot.

In fact, more than just dancing a lot, they have also new work created on them often. As part of the “Studio K” that will soon be expanded, the company commissions (and is committed to creating) 4 to 5 new works per year, while giving the choreographers significant resources and artistic freedom.

As a result, tonight’s program featured an incredibly talented group of dancers (from 11 nationalities) and three recent works (by two female and one Asian choreographers).

My favorite goes to the world premier of “Glass Figures” by Ma Cong. I especially like the change of scenario into the night, when the stars came out (i.e., yellow lights hanging off the ceiling) and the night sky turned dark blue. Love the dynamics and movements that accompanied the scenes.

“Shibuya Blues” by Annabelle Lopez Ochoa and “Medel (Among)” by Helen Pickett both started out strong, but I personally felt the pieces fizzled out in the second half. However, both were filled with technical elements with jumps, turns, and lifts beautifully executed by the dancers.

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Compagnie Hervé Koubi

It was interesting to see two French hip-hop dance troupes, both with Algerians roots, perform back-to-back at the Joyce. Hervé Koubi’s dance featured a lot more acrobatic, almost gymnastic-like, movements.

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Compagnie Accrorap

“The Roots” by Kader Attou/Compagnie Accrorap

One of the most memorable performances I’ve seen at the Joyce Theater in the past year. BRAVOS to this group of 11 amazing dancers. Enjoy Boston, Santa Barbara, and the rest of your US tour. Come back to New York City again soon!!!

I’m not generally a hip hop fan, but was completely taken aback by this company. Their movement quality was stunning, as if they could freeze time and fly in the air. They were athletic and physical: spinning, jumping, bouncing off everything on stage.

As a group, I love their connections with each other. Physically: in their assisted lifts, partnering, and movement as a group. Emotionally: they were manly and strong, relaxed and loving, genuine and funny, all at once.

I also enjoyed the part where they merged tap dancing with hip hop. I’ve seen Michelle Dorrance collaborate with Ephrat Asherie (combining tap and hip hop in two choreographies in five shows), and heard their theory on how the two dance forms share common elements.

However, it wasn’t until last Thursday, when Compagnie Accrorap took stage with one tap dancer, and 10 hip hop dancers responding and adding to the rhythm, that I finally saw the beauty of tap + hip hop.

Finally, props to their cool stage design (the slanted sofa chairs) and costuming (they looked like 11 fashion models at one point).

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Trinity Irish Dance Company and Ensemble Español

Bravos to the Trinity Irish Dance Company for an amazing show at the Joyce Theater‘s American Dance Platform on January 12th with their precision, techniques, and stunning group work — creating not just powerful movements, beautiful patterns, but also incredible music.

The night also featured spirited flamenco and Spanish dance by Ensemble Español.

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Jessica Lang and Backhausdance

I LOOOVED Jessica Lang and Backhausdance at the Joyce Theater‘s American Dance Platform. My favorite program of this year’s festival.

“Lyric Pieces” by Jessica Lang was graceful and beautiful. Jessica has incredible way of bringing dancers together, so that as a whole they tell a touching and emotional story. The minimalist but versatile props accentuated the constantly evolving, dynamic movements. “The Calling,” a short solo, was visually stunning from the moment the curtain was lifted. Kana Kimura stood at the center of stage, in an all-white dress that spanned 20 feet across covering much of the stage. As she moved, the fabric of the dress flowed, twirled, and responded to her.

If seeing Jessica Lang’s work feels like attending an elegant wedding, then seeing Jennifer Backhaus‘s work feels like the small victories of making it through a difficult but rewarding week.

“The Elasticity of the Almost” was creative, playful, and deeply emotional.

I was warned ahead of the show that “balls will be rolling into the audience!” Surely and truly, thousands of bouncing balls filled the stage. They were carried on stage by the dancers, rolled in one by one from the sides, poured in by the buckets, before raining down from the sky.

While the balls were the most visible part of the piece (they’re in bright red and other solid colors), my favorite was how the dancers interacted with the balls. The dancers’ movements were organic, dynamic, and gorgeous if not challenging. (Imagine turning and jumping in an ocean of rolling balls!) Yet, they also revealed deep emotions: the stress and rewards of being an artist, making it through the week, hanging onto what we care, letting go of what must go, discovering, and understanding what is truly valuable to us. Such a beautiful, meaningful, and impactful work of art. 😍

Look forward to seeing much more from these two amazing choreographers and companies!

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Open Rehearsal with Dorrance Dance

Open rehearsal with Dorrance Dance at the Joyce Theater!

I had a chance to see “Until the Real Thing Comes Along (A Letter to Ourselves)” again, and it was even better than the first time. It’s great when a choreography has depths, and gets better with each viewing. Bravos to Michelle Dorrance, Melinda Sullivan, Josette Wiggan-Freund, and Hannah Heller.

My favorite moment of the afternoon:

Hosting the talkback Laura Diffenderfer asked: The title of the piece is “Until the Real Thing Comes Along (A Letter to Ourselves)”. What might that letter say?

Josette: To keep going. Given everything that happened throughout 2017, to keep striving to be true. To be a better daughter, a better wife, a better mother, a better friend. To ask: How I can be better today?

Melinda: This is a piece created for us, by our own voices. The [creative] process has been as important as the performance. The letter would say: Surround ourselves with people who encourage ourselves to be ourselves.

Michelle: In light of the year, this choreography is a collaborative process with only women. (Assistant director included). To show each of our voice is valid. To comunicate that our voices are appreciated, valued, and cherished.