Balanchine: The City Center Years (Program I)

Program I of “Balanchine: The City Center Years” at New York City Center on Wednesday.

Memorable moments from the opening night include…

Kimin Kim‘s jumps in “Tschaikovsky Pas de Deux”. The crowd collectively gasped when he leaped off for the first time, and stayed in the air forever and ever. Kimin continued to impress throughout the piece, executing some of the best jumps I’ve seen, and owned the spotlight in this duet.

Anna Rose O’Sullivan and Marcelino Sambe were amazing in “Tarantella”. They were playful, technical, and daring. I love the chemistry between them, and look forward to seeing them perform “Tschaikovsky Pas de Deux” tomorrow night!

Tiler Peck, Ashley Bouder, Anthony Huxley, and New York City Ballet were lovely in “Symphony in C”. Miami City Ballet opened the night with a beautiful presentation of “Serenade”.

Fall for Dance: Day Two

Seeing Michelle Dorrance with my amazing tap dance teacher Tony Mayes!

Miami City Ballet brought out the best of Christopher Wheeldon’s choreography. Love how the dancers defy gravity in Polyphonia.

Trisha Brown’s two dancers are as incredible as yesterday. It’s amazing how they stay so synchronized and connected despite dancing the majority of the choreography facing away from each other.

Still deeply impressed by the creativity and amount of energy in Vincent Mantsoe’s work!

Fall for Dance: Day One

Fall for Dance opened tonight at New York City Center with four amazing performances.

Dorrance Dance was stunning. I love how much life, character, and personality Michelle Dorrance gives to tap dance.

The dark horse of the night goes to Vincent Mantsoe in his solo work “Gula” (or “Bird”) where he brought to life the movements (and singing!!!) of a free-spirited animal. The opening fog was really cool, but I wasn’t sure how it was related to the rest of the performance?

Learnt more about (post-)modern dance with Trisha Brown’s “You Can See Us”! I much enjoyed seeing more of how dance was developed in the 20th century.

With incredible precision and techniques, Miami City Ballet opened tonight’s performance with Christopher Wheeldon’s “Polyphonia.”

Fire Island Dance Festival

Supporting Dancers Responding to AIDS and Broadway Cares/Equity Fights AIDS at the Fire Island Dance Festival. Thanks also to Meg for organizing the trip on behalf of the Joyce Young Leaders Circle.

Saw ten performances including six world premiers and one US premier.

My favorites include Peridance Contemporary Dance Company who opened the show with a smooth flowing choreography “Dia-Mono-Logues” featuring eight dancers in nude color from head to toe, except for a piece of thin and dyed fabric over their shoulders and arms. The dance explored issues of identity, prejudice, and judgement as new immigrants. The colored fabrics complemented the movements to show the internal and external struggles within each dancer.

Al Blackstone and James Whiteside put on a romantic/comedic ballet “How Come U Don’t Call Me Anymore” featuring themselves and five “extra” dancers. As James pursued Al, the object of his love, he must overcome the extras who stood in his way. Killing each one of them in dramatic fashion, James triumphantly captured Al. At the end, the lovers shared a cigarette, and stood handsomely as the sun slowly set behind them. (Literally, the festival took place with the sun setting behind the oceanfront stage, though James and Al’s fabulous acting sure made the sunset look grander than it even was!)

To close the show, Makers Dance Company, featuring numerous ABT dancers, delivered a powerful and physical ballet “Tatakai” inspired by Japanese samurai battles.

Upper right: Jeannette Delgado of Miami City Ballet, who had earlier performed the solo “My One and Only” from George Balanchine’s “Who Cares.”

#dancersrespondingtoaids #broadwaycares #equityfightsaids #fireisland #fireislandpines #fidance

CRA just posted a video of the Festival.