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Sergei Polunin & Kristina Shapran’s Unrehearsed improvisation to Satie’s “Gnossienne No. 1”….

Unrehearsed improvisation to Satie’s “Gnossienne No. 1”

Direction:

George Harvey

Performance:

Sergei Polunin

Kristina Shapran

4th Annual Dance Against Cancer | May 5th, 2014….

 ?????????Mon., May 5, 2014

AXA Equitable Theater

787 Seventh Ave.

btw 51st & 52nd St.

6PM VIP Reception

7pm General Admission

*Reception to follow*

TICKETS

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Join us for the Dance Against Cancer event which brings together top dance companies from New York City and beyond for a night of beautiful performances, world premiere solos and great company. Since its inauguration, Dance Against Cancer has raised over $125,000 in support of the American Cancer Society. This year, please join producers Erin Fogerty and Daniel Ulbricht as they present the 4th Annual Dance Against Cancer

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Performances by

New York City Ballet’s Jared Angle, Tyler Angle, Robert Fairchild, Chase Finlay, Lauren King, Maria Kowroski, Tiler Peck, Amar Ramasar, Taylor Stanley & Daniel Ulbricht

Manhattan Youth Ballet’s Erin Fogarty

American Ballet Theatre’s Isabella Boylston, Herman Cornejo, Gillian Murphy & James Whiteside

Alvin Ailey’s Matthew Rushing

Boston Ballet’s Misa Kuranaga

Miami City Ballet’s Patricia Delgado

Lar Lubovitch’s Clifton Brown

Memphis Jookin’ sensation, Charles “Lil Buck Riley”

This year will also showcase young dancers from

Jacques D’Amboise’s National Dance Institute.

Andonis Foniadakis’ “Glory”: Ballet du Grand Théâtre de Genève at the Joyce, 2014….

Ballet du Grand Théâtre de Genève in Andonis Foniadakis’ Glory. Photo© Gregory Batardon

Ballet du Grand Théâtre de Genève in Andonis Foniadakis’ Glory. Photo© Gregory Batardon

Greek-born choreographer Andonis Foniadakis’ Glory, performed by Ballet du Grand Théâtre de Genève at the Joyce Theater is an intelligent and emotional work. Created in 2012, this acclaimed century-old Swiss company has a wide and diverse repertory and is noted for inviting guest choreographers from around the world. The 22 dancers are exceptional as they perform to Julien Tarride’s masterful remix of Handel excerpts such as Hallelujah Chorus from The Messiah, sections from Suites De Piéces pour le Clavecin and the opening aria from Serse.

There is a lot of energy in Mr. Foniadakis’ Glory, but that can be said of all of Mr. Foniadakis’ choreography. He approaches the body in space like an artist with a calligraphy brush, wide swiping limbs, arching torsos and attention to shapes and patterns. His movements are like breath, an inhaling and exhaling of pure spirit.

Ballet du Grand Théâtre de Genève in Andonis Foniadakis’ Glory. Photo© Gregory Batardon

Ballet du Grand Théâtre de Genève in Andonis Foniadakis’ Glory. Photo© Gregory Batardon

The curtain opens to find fog rolling across the stage. Backlit by white light, a woman wearing a sheer black dress graceful steps from the light; Daniela Zaghini begins to dance energetically, her movements large with arms and legs swinging around her body, her focus constantly changing.

The beginning of the work is a testament to the dancers’ abilities and artistry. Constant movement is seen, the body turning and jumping, arms and legs are extended then quickly pulled in. The dancing is natural with limbs relaxed, the dancers approach to the movement is almost playful.

Mr. Foniadakis’ use of the body in space has an intrinsic quality that is very human… it brings to mind an Italian word I ran across in my research…sprezzatura… defined as “a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it.”

Mikki Kunttu’s lighting design is an integral part of the work. The dancers enter and exit the stage from backlit columns of while light or later when the features of the dancers are hidden and they become living shadows of movement.

Ballet du Grand Théâtre de Genève in Andonis Foniadakis’ Glory. Photo© Gregory Batardon

Ballet du Grand Théâtre de Genève in Andonis Foniadakis’ Glory. Photo© Gregory Batardon

Tassos Sofroniou must be mentioned for his costume design. Men and women are both in black or red long pleated skirts made from an airy fabric that fluidly follows the dancer’s every motion. A woman steps from the wings wearing a large parachute-like dress, long rods are attached to the hem of the skirt, which the dancers lift from behind till it resembles the plumes of a dark peacock.

Three men manipulate a woman across the stage; her feet never touch the stage. She is held aloft, transitioned, traded and reclaimed by all three men. The is something magical about the moment…

Ballet du Grand Théâtre de Genève in Andonis Foniadakis’ Glory. Photo© Gregory Batardon

Ballet du Grand Théâtre de Genève in Andonis Foniadakis’ Glory. Photo© Gregory Batardon

Throughout, the dancers’ movements are repeated, altered or sometimes reversed. The deconstructed approach of Mr. Foniadakis’ choreography has only one law that must be obeyed, gravity… and even this he fights against. The body is pulled upwards to the point that it must inevitable fall, but he utilizes the energy of that fall for the transition into the next shape or phrase of movement ensuring the continuation of the kinetic energy.

Without a doubt Ballet du Grand Théâtre de Genève and Andonis Foniadakis’ Glory was a resounding success. When the performance ended….everyone in the Joyce were on their feet….giving the company not one but four curtain calls….

Constellation: Alonzo King Lines Ballet at the Joyce, 2014….

Michael Montgomery, Ricardo Zayas, Keelan Whitmore & Ashely Jackson in Alonzo King’s “Constellation”. Photo by Margo Moritz.

Michael Montgomery, Ricardo Zayas, Keelan Whitmore & Ashely Jackson in Alonzo King’s “Constellation”. Photo by Margo Moritz.

Alonzo King’s Constellation is a much different program than that offered during Alonzo King Lines Ballet’s 2012 NYC Season at the Joyce. Resin, which premiered in 2011, was a work of passion and physicality that incurred a deep emotional response. For the score, Mr. King explored Sephardic songs from Turkey, Morocco, Spain, and Yemen, including children’s songs and religious songs, with them you heard the pain and suffering of the Jewish Diaspora.

Where Resin was a work of emotion, Mr. King’s Constellation, which premiered in 2012, is work of the spiritual. It is danced in soft shoes and is shown in 19 sections in 75 minutes. Set Designer Jim Campbell and lighting designer Axel Morgenthaler created a backdrop of glowing orbs, small lights like the stars in the constellation amongst a sea of blackness. Israeli mezzo-soprano Maya Lahyani would enter and exist through the production, singing excerpts from Vivaldi, Strauss or Handel, her voice weaving a web of mysticism, lending a touch of magic.

Michael Montgomery in Alonzo King’s “Constellation”. Photo by Margo Moritz.

Michael Montgomery in Alonzo King’s “Constellation”. Photo by Margo Moritz.

Filled with duets and solos, the dancers were allowed to shine. Mr. King’s choreography is hard to describe with words, his utilizes the classical vocabulary when needed and discards it when not. There is a freedom found in the constant movement in which the dancers sometimes move in unison but often times not. But even when dancers are not moving in unison, there is still a shared theme, movements that are repetitive within the phrasing but slightly different for each dancer.

If you have never seen Courtney Henry dance than you have done yourself a great injustice. Ms. Henry, who was a finalist in the prestigious Youth American Grand Prix “Stars of Tomorrow” program in New York City, is a dancer that was born to dance.  When I see her I am reminded of some on the great contemporary ballerina of our time, Sylvie Guillem or Wendy Whelan. Yes, she’s that good.

The duet between Micheal Montgomery and Babatunji was a thing to behold. Filled with turns that finished with elongated limbs, it was a display of competitive camaraderie. A sense of each dancer pushing the other to be stronger, better….

The pairing of Ms. Henry with Mr. Montgomery was a stroke of genius. Their movement qualities were perfectly matched. Their dancing created a moment when time was suspended, nothing else in the universe matter. Both lithe and long-limbed, they flowed organically with and around one another.

Keelan Whitmore in Alonzo King’s “Constellation”. Photo by Margo Moritz.

Keelan Whitmore in Alonzo King’s “Constellation”. Photo by Margo Moritz.

Original score composers Ben Juodvalkis and Leslie Stuck with Sound Designer Christopher Barnett create a colorful tapestry of sound. You could hear the wind, bells or birds calling while in flight, these are intermixed with romantic melodies by violin and cello.

Yujin Kim’s solo is another moment within Constellation in which time stops, the emotionality of her movements is undeniable. When a small ball is rolled on stage, she picks it up and it becomes a thing cherished that is then shared with another.

Yujin Kim & Zachary Tang in Alonzo King’s “Constellation”. Photo by Margo Moritz.

Yujin Kim & Zachary Tang in Alonzo King’s “Constellation”. Photo by Margo Moritz.

Mr. King is unafraid to allow the body to be seen in brief moments of awkwardness. Elbows hyper-extended and crossing one another or in the way two dancers may move in relationship to each other. The woman bent over and the man to the side picks her up and down in quick small lifts, she awkwardly hangs from his body as he turns and then he lifts her to chest level as she elongates her body into a beautiful line.

Alonzo King LINES Ballet is a celebrated contemporary ballet company that has been guided since 1982 by the unique artistic vision of Alonzo King. Collaborating with noted composers, musicians, and visual artists from around the world, Alonzo King creates works that draw on a diverse set of deeply rooted cultural traditions, imbuing classical ballet with new expressive potential. Alonzo King understands ballet as a science – founded on universal, geometric principles of energy and evolution – and continues to develop a new language of movement from its classical forms and techniques. Alonzo King’s visionary choreography, brought to life by the extraordinary LINES Ballet dancers, is renowned for connecting audiences to a profound sense of shared humanity.

Sidra Bell Dance New York 2014 NYC Season, May 8-11 & May 15-17….

Sidra

Sidra Bell’s latest evening length events attempt to rescue the individual by constructing two new worlds that navigate popular zeitgeists.

Conceived through materials, K I N G D O M (World Premiere Tanz Farm, Atlanta) & garment (World Premiere Kelly Strayhorn Theater, Pittsburgh) use small performance ceremonies to observe antiquation, literacy, transfiguration, and reformation.

K I N G D O M

New York City Premiere

garment

New York City Premiere

Presented by

index

East 25th St btw Lexington & 3rd Aves.

New York City

TICKETS

Martha Graham Dance Company’s Program A at the New York City Center, 2014…

Martha Graham Dance Company’s Katherine Crockett as Clytemnestra in Martha Graham’s “Clytemnestra”

Martha Graham Dance Company’s Katherine Crockett as Clytemnestra in Martha Graham’s “Clytemnestra”

Few dance companies, especially modern dance companies have had the staying power of the Martha Graham Dance Company, celebrating its 88th Season at New York City Center. Martha Graham’s influence on dance has been compared to Picasso’s on painting, Stravinsky’s on music and Frank Lloyd Wright on architecture. She collaborated and commissioned works from some of the leading artist of her day, she had a close working relationship with American-Japanese sculptor Isamu Noguchi. The top fashion designers in the world dressed her for the stage, Halston, Calvin Klein and Donna Karan. The score she commissioned from Aaron Copeland in 1944, Appalachian Spring, won the Pulitzer Prize for Music the following year in 1945.

The Company’s 88th Season was labeled Myth and Transformation, revered Graham masterpieces were seen alongside newly commissioned works by two of the world’s foremost choreographers… Andonis Foniadakis and Nacho Duato.

Program A opened with a new one-hour production of Ms. Graham’s Clytemnestra. The original Clytemnestra, which premiered in 1958, is easily considered one of her greatest works from her Greek Cycle. It is Ms. Graham’s only full-evening work and presented in three acts. The Playbill listed the choreography for the new one-hour production as Ms. Graham’s with arrangement by Janet Eilber and Linda Hodes.

The original production was commissioned by Bathsabée de Rothschild with an original score by Egyptian composer Halim El-Dabh. Isamu Noguchi designed a series of set pieces that the transformed the stage from the Underworld to the Royal Palace and then to the Queen’s bedroom.It is the torrid tale as seen from the perspective of Mycenae’s (Argos) inimical Queen, Clytemnestra.

Martha Graham Dance Company’s Blakeley White-McGuire  as Electra & Abdiel Jacobsen as Orestes in Martha Graham’s “Clytemnestra”

Martha Graham Dance Company’s Blakeley White-McGuire as Electra & Abdiel Jacobsen as Orestes in Martha Graham’s “Clytemnestra”

Clytemnestra has been planning to seek revenge for Agamemnon’s sacrifice of their daughter, Iphigenia, and partly because in the ten years of Agamemnon’s absence during the Trojan War, Clytemnestra has entered into an adulterous relationship with Aegisthus, Agamemnon’s cousin. Clytemnestra deceives her husband Agamemnon into stepping onto a red cloth that is reserved for the gods which means his death.

The Furies gather for they know what is to come. The captured Princess Cassandra, who Agamemnon has taken as a mistress, foresees what is to come but is believed by no-one. Helen of Troy is seen lamenting what her abduction has caused. Clytemnestra and Aegisthus fall into bed after a night of drunken celebration. During the night she is awakened by the ghost of Agamemnon who spurs Electra and Orestes, their other two offspring, to avenge his murder by killing their mother and her lover. Now that is a lot to cram into an hour…

Over the years I have had the opportunity to see Clytemnestra in its entirety several times and it is one of my favorite Graham works. So I was curious as to whether this new reduced-revised-shrunken version would work…I sorry to report it did not…

It is just too much information, too much going on to try to complete in an hour. The stage seemed too crowded by the use of all the sets Noguchi had created for the production, a throne, a bed, large red swords that form a cross…. I remember settling in when the work was shown at  BAM and watching the plot unfold…but, unfortunately there was no chance to do that with this one-hour production…Neither Katherine Crockett as Clytemnestra or Ben Schultz as Hades were allowed the leisure of truly developing their characters on stage…

Martha Graham Dance Company’s Lorenzo Pagano & PeiJu Chien-Pott in Andonis Foniadakis’s “Echo”.

Martha Graham Dance Company’s Lorenzo Pagano & PeiJu Chien-Pott in Andonis Foniadakis’s “Echo”.

During the intermission, I meet with three professional dancers, part of the younger generation that this new one-hour version was supposed to reach. To them it appeared everything was rushed, the subtitles between scenes just did not work…and they commented on how the stage seemed so crowded with the dancers, all the props plus the set.

The old adage is…if ain’t broken don’t fix it…I felt a brilliant piece of dance history and a stellar part of Ms. Graham’s Greek Cycle had been forcible dumbed down and I, for one, feel somewhat insulted….

I mean, come on…betrayal, unfaithfulness, retribution plus a lot of grief and agony then you have remorse thrown in for good measure, now mix that with Noguchi’s brilliant sets and the great costumes originally designed by Halston … There’s no-way to fully utilize or explore that with the justice deserved within an abbreviated time frame…What’s next, someone deciding to redo Picasso’s blue period in shades of red…

Adonis Foniadakis’ Echo I can still see in my mind’s eye. The work was inspired by the Greek myth of Narcissus and Echo but it is not a retelling of their story. Lloyd Mayor as Narcissus struggles with his reflection, Lorenzo Pagano. They move together as one, sometimes intimately, sometimes almost violently…a struggle with self, what to except, what to reject.

Martha Graham Dance Company in Andonis Foniadakis’s “Echo”.

Martha Graham Dance Company in Andonis Foniadakis’s “Echo”.

In the myth, Narcissus falls in love with his reflection in a pool of water and the reference of water is found in Mr. Foniadakis’ flowing movements and fluidity of shape. The dancing is fast and continuous, the choreography forged with twisting curves while the torso arches in mid-motion. A certain freedom that is denied within the confines of the formalized Graham technique defines the work. Witnessing other choreographers work with the Graham trained dancers, you see the beauty of the technique, the use of contractions and the way the spine spirals. Excellent work by a truly talented choreographer…

Martha Graham completed her last work, Maple Leaf Rag to the music of Scott Joplin at the age of 96. In her early career, when she got stuck creatively and feel into a funk she would ask Louis Horst, who was Ms. Graham’s music director, friend and mentor in her early years, to play the Maple Leaf Rag. You hear Ms. Graham’s recorded voice saying, ”Oh, Louis, play me the ‘Maple Leaf Rag.’

Martha Graham Dance Company’s Ying Xin & Lorenzo Pagano in Martha Graham’s “Maple Leaf Rag”

Martha Graham Dance Company’s Ying Xin & Lorenzo Pagano in Martha Graham’s “Maple Leaf Rag”

There is a light heartedness to the piece, its Ms. Graham poking fun at herself in ways that only she can get away with. A somber figure in a white dress crosses the stage as an ominous beat is heard with every step, then Joplin is heard and joyous dancing breaks out behind her…. Maple Leaf Rag is Ms. Graham’s last work and also one of her best…..

Satellite Collective Presents Manuel Vignoulle’s “Rituals” at BAM’s Fisher Hall, May 16th & 17th, 2014….

Rituals-Poster-2809b-2014

Martha Graham Dance Company’s Program B at New York City Center 2014….

Martha Graham Dance Company “The Rite of Spring” Photo: Sinru Ku

Martha Graham Dance Company in “The Rite of Spring” Photo: Sinru Ku

The Martha Graham Dance Company has been almost swallowed up and spit into non-existence more times than once….I think it’s fair to say that in the company’s 88 years of existence being boxed up and boarded up has been an almost more than few times.…A recent as 2012, Hurricane Sandy poured the deep, dirty waters of the Hudson River into the basement of Westbeth, flooding the storage area of the company’s new home….leaving submerged for six days historical artifacts collected over the past 80 years, costumes worn by Martha Graham, renowned sets by Isamu Noguchi plus expensive tour equipment…all costing a pretty penny, approximated at over $4 million.

But, under the guidance of its Artistic Director Janet Eilber and Executive Director LaRue Allen, the Martha Graham Dance Company has been kept afloat and like a Phoenix from the ashes, rises ever again….

Martha Graham Dance Company’s Katherine Crockett in  Martha Graham's “Appalachian Spring” Photo: John Deane

Martha Graham Dance Company’s Katherine Crockett in Martha Graham’s “Appalachian Spring” Photo: John Deane

The Company’s 88th Season was labeled Myth and Transformation, revered Graham masterpieces were seen alongside newly commissioned work  by two of the world’s foremost choreographers… Andonis Foniadakis and Nacho Duato.

This season marked the 70th anniversary of Martha Graham’s Appalachian Spring. With sets by Isamu Noguchi and thanks to Erick Hawkins (who was to wed Ms. Graham’s in 1948), he persuaded Elizabeth Sprague Coolidge to subsidize the commissioned score by Aaron Copland  and which was to win the Pulitzer Prize for Music in 1945.  A subtle nod to the Shakers can be found in the melody of Copland’s score, the austerity of the Isamu Noguchi’s sets and Ms. Graham’s simplicity in way she approached the choreography.

Martha Graham Dance Company’s Abdiel Jacobsen in Martha Graham’s “Appalachian Spring”

Martha Graham Dance Company’s Abdiel Jacobsen in Martha Graham’s “Appalachian Spring”

Appalachian Spring has become an American classic and is Ms. Graham’s ode to American optimism and determination in an era when the country needed it dearly. The work premiered in 1944, World War II had been raging since 1939, 110,000 Japanese Americans were interned in “War Relocation Camps”, the Hartford Circus Fire occurred and killed over a 100 children and with Operation Normandy or D-Day, over 4000 allied troops are killed with almost half of them American. With headlines like that the country was in need of optimism…

Appalachian Spring is ripe with the imagery of the American pioneers, people who were moving west to settle new territories, to start over, to rebuild their lives. Lloyd Knight as the Preacher walks on stage, both solemn and filled with self-importance with four women, his followers, in lock step behind him. He is a frontier evangelist, sharing images of hellfire and doom to any who disagree with him.

Martha Graham Dance Company’s Lloyd Knight & Natasha Diamond-Walker in Nacho Duato’s “Depak Ine” Photo: Costas

Martha Graham Dance Company’s Lloyd Knight & Natasha Diamond-Walker in Nacho Duato’s “Depak Ine”

Katherine Crocket, as the Pioneering Woman displayed a certain dignity, her role was to advise and act as protector, the wiser older woman. Black White-McGuire as the Bride and Abdiel Jacobsen as the Husband bring a youthful exuberance, a young couple that sees infinite possibilities before them.

The minimalism of Isamu Noguchi’s set reflects or at least hints of the Shakers influence. Stark simplicity is found in the use of lines and angles. The farmhouse, seen only from a side view, rakes towards the back of the stage, upon its porch is an abstract interpretation of a the rocking chair, thin, austere and looks as if it’s constructed of rusted metal. A section of fence, like a rodeo corral, extends into oblivion…

Martha Graham Dance Company’s Lloyd Knight, Lorenzo Pagano, & Ying Xin in Nacho Duato’s “Depak Ine” Photo: Costas

Martha Graham Dance Company’s Lloyd Knight, Lorenzo Pagano, & Ying Xin in Nacho Duato’s “Depak Ine”

Appalachian Spring is work of undoubted historical importance, both in dance history, as well as the American experience. Yet the stiff, formalized approach in the use of the body in space, plus Ms. Graham’s application of straight lines and ninety degree angles to move the dancers across the stage, seemed out of date. Where Ms. Graham’s 1935 solo Imperial Gesture or her 1981 neoclassic Acts of Light have stood the test of time and can stand against anything created by any of today’s foremost choreographers, Appalachian Spring unfortunately does not…

Nacho Duato’s works speaks to me like few others, whether it is his 1983 work Jardi Tancat, his 1998 work Without Words or my favorite Duende from 1991, his genius is evident. His latest work, Depak Ine, commissioned by the Martha Graham Dance Company, perfectly aligned within my estimations of Ms. Duato’s talents. Janet Eilber has said at the beginning of the performance that Mr. Duato mentioned he was reading the works of Darwin while thinking about the new project.

Martha Graham Dance Company’s Lorenzo Pagano & Ying Xin in Nacho Duato’s Depak Ine” Photo: Costas

Martha Graham Dance Company’s Lorenzo Pagano & Ying Xin in Nacho Duato’s Depak Ine”

Mr. Duato’s readings of Darwin are evident in the choreography, the use of animalistic and insect-like movements and the dancers moving as if controlled by a hive mind. Like ants, they worked in concert, grouping together, one on top of the other, doing what was necessary to achieve their desired goals.

Created in only five-weeks and using the music of John Talabot, the Graham dancers proved how truly gifted they are when they threw themselves through space while maintaining complete control of their bodies. The work was a perfect contrast to the formalism found in the Graham technique, being more relaxed in its approach towards the movement of the body in space. It was a surprising and refreshing work that was brilliantly performed by the Graham dancers and a great addition to the Graham company’s repertory.

Peiju Chien-Pott must be mentioned for her stellar performance. She moved in ways that repudiated the laws of human anatomy, her body seemed devoid of bones, she became an object of infused energy, heedless of the strictures of nature, her dancing was filled with vitality and breath. Ms. Pott was mesmerizing… brava and brava again…

The Rite of Spring, in its 30th Anniversary, is just as strong today as when it premiere in 1984. The formalized use of body and the strict use of patterns to move the dancers across the that had seemed out of date in Appalachian Spring, was the perfect juxtaposition needed for the controlled chaos that is the Stravinsky score.

Martha Graham Dance Company’s in Martha Graham’s “The Rite of Spring” Photo: Sinru Ku

Martha Graham Dance Company’s in Martha Graham’s “The Rite of Spring” Photo: Sinru Ku

Ben Schultz as the Shaman towered over the lesser mortals, majestic and commanding and his tattoos complemented the sense of paganism that was seen. As the Chosen One, Xiaochuan Xie, with her hands bound, tenses her body with terror, knowing all to well her destiny.

The women are almost secondary, accepting a more submissive role within this male-dominated society. The enter and exit the stage, conscientious of what is occurring and all too aware of the role they are to play. The men, wearing  nothing but black briefs, circle the Chosen One, contracting their torsos with force showing their strength.

Ms. Graham’s Rite of Spring is primal in it’s intensity, raw emotion flows through and around the dancers. It is the sacrificial virgin, a young woman whose blood must flow to insure a bountiful harvest. It is the view of a death that gives life, her death ensures that others’ live…

 

Michele Wiles & Drew Jacoby performing Mauro Bigonzetti’s “La Follia”….

La Follia

Dancers: Michele Wiles & Drew Jacoby

Choreography: Mauro Bigonzetti

Music: Vivaldi.

Performance from the inaugural event presented by Ballet Next at The Joyce Theater

Nov. 2011, New York City

BalletNext 2014 Spring Master Classes….

Ballet Next

$30 Master Class

$70 Three-class Series

10:15am – 12pm

Advanced & Professional Dancers 

Sunday April 6: Michele Wiles

michele

Michele Wiles Artistic Director of BalletNext and former principal dancer with American Ballet Theatre.

Sunday May 4: Kaitlyn Gilliland 

Kaitlyn

Kaitlyn Gilliland BalletNext dancer, SAB faculty member, and former New York City Ballet dancer

Sunday June 1: Stephen Hanna

Stephen_Hanna_SMALL_HS_1_thumb

Stephen Hanna BalletNext Dancer, former New York City Ballet principal and original cast member of Billy Elliot

City Center • Studio 5

130 W56th St

New York

 Click Here To Pre-register

 or Pay at the Door