Fall for Dance: Program 4

Four solid performances tonight.

“Beach Birds” by CNDC Angers is perhaps my favorite Merce Cunningham choreography so far. I really enjoyed the nature-inspired movements — which felt like anything from a chirping bird playing in the forest, to saplings springing out of the soil. The music sounded like a gentle stream and the occasional breeze in the background, and complemented the movements perfectly. The last third of the piece became more abstract, and felt like more general geometric shapes to me.

I also like the variation of movement styles and the energy in Alicia Graf Mack‘s “Come Sunday”, and the powerful message of love in MADBOOTS Dance‘s “For Us”. Finally, it’s great fun to see Stella Abrera, Robbie Fairchild, and Gabe Stone Shayer do something completely different from classical ballet in “Unveiling” by Sonya Tayeh.

Fall for Dance: Program 3

My favorite tonight goes to “Dare to Wreck” by Madeleine Månsson and Peder Nilsson of Skånes Dansteater, for some of the most amazing partnering that I’ve ever seen.

For context, Madeleine danced mostly in a wheelchair tonight, but this is *not* an “inclusion” performance to make a statement that dance is for everyone. This is *not* a choreography where a disabled dancer traced the approximate path of movements that had been created for another able-bodied dancer, to make a statement that they’re just capable. No no no no no.

“Dare to Wreck” is a showcase of what a wheelchair dancer can accomplish that no “able-bodied” dancers could even dream of. Madeleine could accelerate so rapidly and maintain such a high speed as she dashed across the stage, because she had wheels. The wheels also allowed her to decelerate and interact with Peder in ways not possible to other dancers.

I love the connection between Madeleine and Peder, both emotionally and technically. I love the the weight-sharing, weight-shifting, lifts, and aerials. I love all the creative and unexpected points of contact. I love the speed of their movements. I love the interaction between the dancers, the chair, and the wheels — like the way the wheels spin while Madeleine is lifted high in the air. Bravos!!

I also thoroughly enjoyed “At the Wrong Time” by Mariinsky Ballet featuring a trio of lovers. I love the different personalities on stage, especially the girl portrayed by Maria Shklyarova. I love the movement vocabulary, which looked like ballet movements inspired by Jazz-era ballroom steps. They look so much fun to dance!!!

Fall for Dance: Program 2


Malevo owned the stage tonight. For a second night in a row at New York City Center, tap dancing took the cake at Fall for Dance. However, Malevo is waaaay beyond just tap or “Argentine folk dance” as the group describes itself.

It’s the most energetic and most energizing show I’ve seen in a long time — combining tapping/clogging, drumming, precision footwork, lighting, sound, and so much more.

Other memorable performances tonight include the unusual, unexpected, and wild French hip-hop dance company Compagnie Dyptik, and the beautiful Washington Ballet.

Fall for Dance: Program 1

Caleb Teicher and Company with Chris Celiz owned the stage tonight, with their tap dancing and beatboxing collaboration.

I love the way Caleb’s dancers move their bodies and interact with one another, in addition to tapping.

I also looooove the way Caleb introduces comedy into tapping. It’s absolutely ingenious how an extra sound, a prolonged pause, or the dragging the side of his tap shoe across the stage at just perfect moment could bring the audience to laughter.

His choreography was creative, ever-changing, and I wanted more after the 30-minute performance!

Nederlands Dans Theater

Nederlands Dans Theater at the New York City Center. Bravos for a spectacular opening night!!!

Some of the most incredibly-trained dancers executing some of the most precise and insane choreographies.

What caught my eyes the most were the unbelievable torso movements. I don’t even have the vocabulary to begin to describe the many ways the dancers rolled, isolated, twisted and shaped their torsos.

Across the four works, male dancers received a lot of attention in the choreos including solos, and distinctive movements and scenes.

“Wir sagen uns Dunkles” was a short light-hearted piece danced to the piano. “Sad Case” and “mutual comfort” brought out NDT’s unique movement vocabulary, and in some parts, explored comedy through abstract movements.

“SH-BOOM!” was my favorite of the night with creative and unique staging unlike anything else I’ve seen.

A Chorus Line

A Chorus Line: An inspiring and emotional performance at New York City Center tonight. ❤️

So glad to see a live production of this musical. The show reminded me why I am in New York City and what we would do for love.

Shoutouts and thanks to everyone I’ve met in the dance and theatre community here. You all have so much spirit, courage, heart, and love in you. You are my inspiration. Keep reaching for your dreams. Best of luck to each one of you. Whatever happens, love will always be there. Love will be never gone. Someday when we look back, love is what we’ll remember. So keep doing what you do (we do) for love.

Balanchine: The City Center Years (Program V)

Program VI of “Balanchine: The City Center Years” at New York City Center.

The festival closed this afternoon with four stunning performances.

Hometown favorite American Ballet Theatre put on an amazing presentation of Symphonie Concertante. Devon Teuscher was so beautiful in her lead role, as were Christine Shevchenko and Thomas Forster. Wonderful to see how much Cate Hurlin and Katie Williams have grown and blossomed (and of course been promoted) in the 3 years since I moved to NYC and started attending ABT performances regularly.

The other programs today include repeats (but gorgeous ones!) of the Four Temperaments by Joffrey Ballet, A Midsummer Night’s Dream by Sae Eun Park and Hugo Marchand, of Ballet Opera de Paris, and Tchaikovsky Pas de Deux by Victoria Tereshkina and Kimin Kim.

Balanchine: The City Center Years (Program III)

Program III of “Balanchine: The City Center Years” at New York City Center.

Kimin Kim continued to own the spotlight with his incredible jumps in “Tschaikovsky Pas de Deux,” earning an applause from the audience every time he leaves the floor.

Tonight’s program also featured the colorful “Scotch Symphony” by San Francisco Ballet. A graceful and beautiful “Divertissement Pas de Duex” from A Midsummer Night’s Dream by Sae Eun Park and Hugo Marchand of Ballet Opera de Paris. The technical and precise “the Four Temperaments” by Joffrey Ballet. I especially enjoyed Christine Rocas and Dylan Gutierrez in the second variation, Sanguinic.

Balanchine: The City Center Years (Program II)

Program II of “Balanchine: The City Center Years” at New York City Center on Thursday.

My favorite tonight goes to Anna Rose O’Sullivan and Marcelino Sambe of The Royal Ballet in “Tschaikovsky Pas de Deux”. What a beautiful presentation of my favorite duet. WOW!!! 😍😍😍

I wasn’t the only one who fell in love with them. The crowd cheered so loudly that the house re-opened the curtain for them to take an extra bow.

After seeing Tiler Peck and Joaquin de Luz of NYCB perform the piece this spring, I didn’t think anyone could possibly come close. However, within seconds of coming onto the stage, after the first spin and the first lift, Anna Rose was already signaling to us that we’re in for a treat.

Anna Rose and Marcelino had an incredible chemistry between them that brought the duet to a different level.

I also love every aspect of Anna Rose’s presentation. The way she lingered in the air just a bit longer than expected at the end of a turn. Her facial expression, her eyes, her glaze alone could tell endless stories. Technically, she travelled backwards in her arabesque faster than anyone I’ve seen. Her fish dives at the end were the most daring of a leap into a fish dive that I’ve seen. Like I said, I didn’t think anyone could possibly outshine Tiler but she just did!

San Francisco Ballet put on a beautiful performance of “Divertimento No 15” featuring a talented female lead cast of Frances Chung, Dores André, Sasha De Sola, Koto Ishihara, Ana Sophia Scheller accompanied by Ben Freemantle, Angelo Greco, and Lonnie Weeks.

Maria Khoreva, Anastasia Nuykina, Daria Ionova, and Xander Parish put on an emotional rendition of “Apollo”. Bravo!

I also love the pairing of Maria Kowroski and Abi Stafford in “Concerto Barocco” by New York City Ballet.