I was like a kid let loss in a candy store when I took my seat for the Bolshoi Ballet’s production of Swan Lake at the David H. Koch Theater, part of the Lincoln Center Festival 2014. (Bolshoi is pronounced “bolshoy” and literally translates as “great ballet.”) As a person obsessed with dance history the sheer magnitude of what I was witnessing was not lost on me.
No matter how many times it is performed, who may or may not have alter/added/modified Petipa-Ivanov’s original choreography…the simple fact is that, like or not, Swan Lake is as Russian as Kvass and Beef Stroganoff. No matter who staged it, no matter who is dancing Odette/Odile or where it is being performed, whether the Paris Opera, the Royal or American Ballet Theater…Swan Lake is as Russian as it gets. Now was Yuri Grigorovich’s libretto and his added choreography a help or a hindrance….well, we’ll get to that later.
When the curtain rises you cannot but be impressed with the Bolshoi’s scenography. A backdrop highlighted with in shades of brown and gold allows the blues and reds capes of the attendees of a ball to stand out. The creative vision behind the set and costumes is Simon Virsaladze (1908-1989).
The dancing was spectacular, impeccable trained dancers whose crisp, clear technique shined. Most of the Principal Dancers of the Bolshoi Ballet graduated from the Moscow State Academy of Choreography, commonly known as the Bolshoi Ballet Academy, the affiliate school of the Bolshoi Ballet. Founded as an orphanage by order of Catherine II in 1763, it wasn’t until 1773 that the first dance classes were taught at the home.
With its 235 year history, the academy has produced some of the most accomplished dancers of the 20th century, including Maya Plisetskaya, Vladimir Vasiliev, Galina Ulanov, to the stars of the current generation, including Nina Ananiashvili, Vladimir Malakhov, Natalia Osipova, Alexei Ratmansky, Polina Semionova, and Nikolay Tsiskaridze, the Academy and its graduates continue to earn the highest honors and acclaims in the international dance world.
Anna Nikulina interpretation as Odette/Odile was nothing short of brilliant. Ms. Nikulina’s Odette gave a figure that was both hopeful yet possessed a sense of impending tragedy. You felt her want/need to trust Artem Ovcharenko’s Prince Siegfried. During the Grand Pas de deux in Act II, you can feel her hesitance, her fear, her emotional response to the Prince when he takes her arms to assist her from the floor. You see the beauty of her training and her exquisite line as she extends her leg in preparation for a whip turn, the prince holding her waist while turning, assisting her as the turn ends in an elongated penché.
Ms. Nikulina is Odette, the Swan Queen who informs the young prince that she and the other girls were turned into swans and that the lake was formed by the tears of their parents’ weeping. She tells him that the only way the spell could be broken is if a man, pure in heart, pledges his love to her. Hence her need to trust…
The Prince, about to confess his love for her, is quickly interrupted by the Evil Genius, portrayed by Denis Rodkin. (In the original Swan Lake, the sorcerer von Rothbart was responsible for the spell that turned Odette and the other girls into swans. The sorcerer in the Bolshoi’s version is instead an Evil Genius who, like an evil shadow, lurks behind the Prince at every opportunity.)Mr. Rodkin pulls Odette from Prince Siegfried’s embrace and commands all of the swan maidens into the lake so that he prince cannot chase them. Prince Siegfried is left all alone on the lake’s shore….
The Fool, Denis Medvedev portrayed with an impish, boyish charm and was unafraid to antagonize and ridicule the Mr. Rodkin as the Evil Genius . He exited and entered with a silly grin on his face, his leaps gave impressive height and his turns were always on point. He was one of my favorite dancers during the whole production.
The Cygnets’ Dance, the pas de quatre also from the Second Act is, besides the Grand Pas from Act II, one of the most recognized pieces in ballet today. Its music automatically brings to mind four women as the bourrée across the stage with hands locked across each other waist. It is here, also in the Grand Pas from the Second Act, that are both fairly true to Petipa- Ivanov’s choreography. This is where you see the differences in Swan Lake’s choreography by Petipa-Ivanov and that by Yuri Grigorovich, the company’s artistic director from 1964 to 1995 now as the Bolshoi’s ballet master.
Where Petipa has a natural musicality, a free-flowing use of limbs that accentuate the melody, Mr. Grigorovich’s choreography was choppy and seemed forced while also lacking any natural musicality. Did it allow for impressive tricks and athletic feats of dance, yes, but at what cost….
Another point of contention was the ending. Once Odette discovers that she has been betrayed and the Prince who has been tricked by the Evil Genius and she finds that he has confessed undying love to Odile (the Black Swan who has been made to look like Odette via magic) she flees back to the lake. The Prince follows after he uncovers the plot to trick him runs to the lake only as Odette is dying. The Prince is left alone by the lake. It was so anticlimactic and lacked any of the drama the ballet deserved.
One of the great treats of the evening was the Bolshoi Orchestra, led by Conductor Pavel Sorokin. The musicians filled the theater with rich sounds and subtle harmonies. It was indeed was real treat.
July 18-20, 2014
Fire Island Pines, NY
Make your plans now to join us for the 20th anniversary of Fire Island’s most anticipated event of the season.
Fire Island Dance Festival has wowed audiences for 20 years with an eclectic mix of famed and fast-rising dancers from Broadway to Ballet performing on a stunning waterfront stage with the Great South Bay as a backdrop. This year’s festival will be hosted by Larry Keigwin and Jerry Mitchell
To date, Fire Island Dance Festival supporters have raised $3.3 million for the most vulnerable among us, helping to ensure that they receive lifesaving medications and health care, nutritious meals, counseling and emergency financial assistance.
Friday, July 18
Leadership Event at Whyte Hall featuring Mark Stuart Dance Theatre
Performance 7:30 pm (cocktails starting at 6 pm)
Included with all Leadership Supporter tickets
Sunday, July 20
Closing Performance 5 pm (cocktails following)
Get your tickets online today, call 212.840.0770, ext. 268 or stop by the DRA table in the Fire Island Pines Harbor on weekends 10 am – 1 pm.
Dwight Rhoden’s Moonlight Solo
“Wade in the Water” From Alvin Ailey’s Revelations
Premiering a new work by New York City Ballet’s Troy Schumacher
Complexions Contemporary Ballet
Premiering a new work choreographed by American Ballet Theatre’s Marcelo Gomes with an original score by Ian Ng
American Ballet Theatre’s Marcelo Gomes & Luciana Paris
Balcony Pas De Deux from Romeo And Juliet
New York City Ballet’s Sara Mearns
Starring with 8 male dancers in a new work created by Emmy award-winning choreographer Josh Bergasse
Dancers Responding to AIDS, founded in 1991 by former Paul Taylor Dance Company members Denise Roberts Hurlin and Hernando Cortez, relies on the extraordinary compassion and efforts of the performing arts community to fund a safety net of social services for those in need. As a program of Broadway Cares/Equity Fights AIDS, DRA supports more than 450 AIDS and family service organizations nationwide as well as the essential programs of The Actors Fund, including the HIV/AIDS Initiative and The Dancers’ Resource. For more information, please visit Dancers Responding to AIDS at dradance.org, on Facebook at facebook.com/DRAdance, on Twitter at twitter.com/DRAdance, on YouTube at youtube.com/DRAdance and on Instagram at instagram.com/DRAdance.
The Boston Ballet, led by its Artistic Director Mikko Nissinen pulled out all the stops for the 50th Anniversary Season at the David H. Koch in New York City’s Lincoln Center. Mr Nissinen presented a company rich with tradition, talent and vision. The company’s 50th Anniversary Season offered two exciting programs and as an added treat, live music was provided by the Boston Symphony Orchestra.
Altan Dugurra gave an honest and intriguing performance as the faun in Vaslav Nijinsky’s Afternoon of a Faun. As the curtain rose you witnessed the beauty of Russian painter Leon Bakst’s original costumes and sets. That moment when the oboe is heard at the beginning of Claude Debussy’s Prélude à l’après-midi d’un faune, the Boston Symphony Orchestra captivated us all.
Seeing Vaslav Nijinsky’s original choreography you recognize just how revolutionary was the work. With the body always in profile, feet turned in, Nijinsky’s staging was intentionally to the imagery found on ancient Greek vase paintings. All though the company also has Jerome Robbins’ version in its repertory I am glad that this was the one selected to be shown.
During Finnish choreographer Jorma Elo’s Plan to B you eyed followed Whitney Jensen whenever she was on stage. She dances with such crisp technique combined with an inner fire that watching her you knew you were in the presence of an artist at the height of her powers.
Mr. Elo has been Boston Ballet’s resident choreographer since 2005 and his choreography tends to be fast paced and highly athletic. Plan to B, set to the Baroque music of Heinrich von Biber is an extreme abstract work in regards to the use of the body in space. The choreography is ripe with classical movement interspersed with contemporary elements, limbs fold at sharp angles and unique movement phrases highlight the work. It is intensely musical, the body and the score seem to meld into a singular vision.
In William Forsythe’s The Second Detail stillness is a vital as motion, abstract, dramatic and challenging, it is work of great daring and intelligence. The saccadic rhythm of Thorn Willems score drives the dancers through every move, every step.
Mr. Forsythe’s 1991 work begins with 13 dancers wearing light blue leotards and tights. Hips jut to the side followed by a running slide and then a leg kicked incredible high, on the floor downstage center is a sign with the word “THE.”
The movement vocabulary is without a doubt classical, tendu’s and port du bras are everywhere, but it is studded with repetitive off-kilter moves, the body tilting and/or the torso used in a sometimes awkward rubbery manner.
The dancers settle on benches that line the back of the stage, two will sit and stare straight head while four others move in unison slightly off to their left. Again stillness is as important as movement in the piece where a dancer or dancers will momentarily stop, breath, and then begins to move once more.
The work is composed of group pieces, duets, trios and sudden solos. On one side of the stage three may be moving in unison while on the other side an intricate solo is being performed. This solo may stop, the dancer choosing to move to the back to sit down or it may evolve into a duet or trio with other dancers joining the first.
Walking on, off and about the stage gives a pedestrian feel, a feel that makes it seem current and of the moment. A dancer may dazzle us with an intricate solo of leaps and turns only to suddenly stop and simple walk nonchalantly away.
The work ends when one dancer kicks over the sign labeled “THE”. The fact that you must be a skilled technician to even attempt Forsythe’s choreography is an understatement. The fact that the dancers of the Boston Ballet can tackle it and other choreographers whose work is just as complex and intricate is a statement to their talent and training.
Choreographer Lee Insoo established EDx2 in 2010. EDx2, located in Seoul, aims to discover outstanding original repertoire alive with artistic sensitivity and descripted movements: and to meet its aim, it is open to other artistic genres such as Hip-Hop, Contemporary dance, Drama, Mime and Acrobatics, etc. EDx2 enthusiastically communicates with the sensitivity of the contemporary audience and introduce a diverse spectrum of modern dance with both artistry and popular appeal.
Direction & Choreography: Lee Insoo
Camera Work/Editing: Smooz
Randy James, Artistic Director for 10 Hairy Legs has a strong vision for the repertory company he founded in 2012, a company composed entirely of men. It is a vision of challenge, of exploration and more than a little taking of chances. The company is not meant to reflect a specific point of view about the male experience, but rather to celebrate and explore the tremendous technical and emotional range of the male dancer.
Mr. James is building an impressive repertory by some very exciting choreographers, Julie Bour, Claire Porter, Tiffany Mills, David Parker and Doug Elkins. Mr. James himself just received the 2014 New Jersey State Council on the Arts Choreographic Fellowship Award Recipient.
Julie Bour’s The Blind Men & the Elephant with a newly composed score by Kyle Olson, opened the evening for 10 Hairy Legs’ 2014 New York Season at New York Live Arts. The Blind Men & the Elephant is a well-known Indian tale from the Buddhist canon, but some assert it is of Jain origin. It illustrates the principles of pluralism and multiplicity of viewpoints, the notion that truth and reality are perceived differently from diverse points of view, and that no single point of view is the complete truth.
Ms. Bour, who danced with Angelin Preljocal and Ballet Preljocal, created a vision for this parable that was fascinating to say the least. The stage is a place of darkness, from varying angles light creeps onto the stage like a thief afraid of being discovered. Upstage left is Benjamin Heller’s scenic design/structure, part statue, part art object, dimly lit imagery that strongly, though not outright, suggests an elephant. A long ivory tusk, a leg, a large ear that would suggest a large head.
Alex Biegelson begins a solo but he is soon joined by Robert Mark Burke. Mr. Burke is smaller in stature and dressed in all black and against the black drapery in the background. He is more of an apparition than person, a shadow that follows, a thought, a fleeting memory. Mr. Burke is reflected guilt or perhaps a thought that services unwanted at random intervals.
The dancers’ kinetic energy is relaxed as it rides though the body, loosely limbs collapse at the height of a movement. Transitions are quick with synaptic response immediate. The choreography does not necessarily stop at any point in the work but there are moments of stillness, like a breath inhaled before the start to the next phrase of movement. The choreography is introverted, reflective, searching. Scott Schneider pauses and looks around, a perplexed expressions on his face as asking who or why.
Three dancers began a trio of movement, a conversation of individual thought, a conversation in their own language of movement. A language only they speak, a language of motion and emotion. They move around and with each other, sharing the burdens of one another, when two lift the shadow, Mr. Burke, there is a moment of shared intimacy, something felt but not spoken.
I am new to the work of Julie Bour, but if The Blind Men & the Elephant is any indicator what to expect from her then I am very excited to witness more of her work. Excellent endeavor by all involved….
The scenario for Claire Porter’s Piano, a text-driven piece, is simple, a world-renown pianist (Kyle Marshall), is ready to dazzle the gathered audience with his talent, he comes on stage with great fanfare, a true artist filled with his own self-importance…. Only to discover there is a slight problem…you see, the piano has not been delivered, the piano bench has arrived but alas, no piano. So, what does a world-renowned pianist full of his own self-importance do to stall for time till the piano arrives…he regales us with his peculiar idiosyncrasies and hilarious pre-performance rituals.
With a lot of bowing, kissing of his most cherished possession, his fingertips, Mr. Marshall takes on a rollercoaster of hilarity. His deadpan delivery of his all-consuming mental preparations and the sharing of information on what he planned to perform and how exactly he was going to perform it…complete with flourishes had everyone in stitches…
Randy James’ Closing the Glass Door set to Haendel-Halvorsen Passcaglia for Violin/Cello and performed live by Sarah Biber on Cello and Jane Chung on Violin was a duet and performed by Scott Schneider and Nick Scissione.
Mr. Schneider and Mr. Scissione begin the piece by standing side by side, first one leans over and places his head tenderly on the other shoulders and then the other does the same to him. The dance builds in intensity; the dancers come together, then separate utilizing the stage fully. Curvature patterns of motion can be seen, the body never truly traveling in a straight line from point A to point B.
Mr. James approach to the use of the body in space is to maximize on the potential of the movement. An extended leg arcs away from the body forcing the spinal column to twist around the torso and thus the energy is fully utilized as the catalyst for the following phrase of movement.
Mr. Schneider and Mr. Scissione must be commended for their performance in Mr. James duet. It was with out a doubt my favorite performance of the night….Superb performance in a superb piece….Bravo indeed!
Doug Elkins’ Trouble Will Find Me and set to music by the acclaimed Pakistani musician Nusrat Fateh Ali Kahn is a work for five men. The choreography is a bit of hip-hop, part capoeira with a little salsa thrown in for good measure and then some deviations of Classical Indian Dance poured into the mix.
It’s a fun work and is what it is…dancing for dancing sake…no subliminal messages or deep examinations of one’s angst. The dancers show such joy dancing the work it is infectious. Runs, slides, backflips and tumbles abound is this very athletic work. The choreography has a natural feel, nothing is forced. Mr. Elkin’s B-boy background surfaces periodically that lends a freshness to the work.
Randy James, who is on the faculty at Mason Gross School of the Arts at Rutgers University is among the foremost choreographers, educators and arts advocates, is the driving force of 10 Hairy Legs and serves as its Artistic Director. In addition to their work with 10 Hairy Legs, The dancers with the company are also dance with such featured artists with The Bang Group, Stephen Petronio, Doug Elkins, Tiffany Mills Company and Zvi Dance, among others.
The mission of 10 Hairy Legs is to advance the understanding of the male role in dance through the creation, acquisition and performance of exceptional work.
Édouard Lock’s works have appeared on film. 1987′s La La La Human Sex duo no 1, directed by Bernhard Hébert and starring Louise Lecavalier and Marc Béland, is a short black-and-white film which won six international prizes including one from the Festival international du film sur l’art de Montréal. Also directed by Bernhard Hébert, Le petit musée de Velasquez (1994), is a free adaptation of eight choreographed pieces from Infante, c’est destroy. Actress Markita Boies appears alongside the La La La Human Steps dancers in this colour feature film which blends contemporary dance with the world of the great Spanish Baroque painter Diego Velázquez.
As recorded from a PBS broadcast of Alive From Off Center back in the late 1980′s, this is an adequate VHS capture of a La La La Human Steps’ performance of Human Sex. There are a couple other releases of this performance at You-tube right now, but I think this one is probably a higher-quality capture. I hope everyone will enjoy it. I find it impossible to keep my jaw closed while I watch this. Truly amazing…
…In 1986 Mr. Lock won a Bessie Award for his 1985 work Human Sex, after the piece was shown during the Awards show Mark Morris screamed out “Genocide” at the top of his voice….
Choreography: Leart Duraku
Beatriz Uhalte Cisneros, Anjara Ballesteros,George Oliveira, Christian Tworzyanski, Alexis Oliveira, Daniele Delvecchio & Ediz Erguc.
Mary Anthony, recognized as one of the leaders of the modern dance movement as well as a national treasure and legend of modern dance, died in her studio home in the East Village in New York City on May 31, 2014 at the age of 97. Former company member, Daniel Maloney who is the Artistic Director of the Mary Anthony Dance Theater Foundation, was like a son to her and took care of her to the end. Among her students were Donald McKayle, the modern-dance choreographer, and Arthur Mitchell, the New York City Ballet star and co-founder of Dance Theater of Harlem.
Others who studied and performed with her include Ronald K. Brown and Elisa Monte, as well Ulysses Dove and former major dancers in the Martha Graham company like Yuriko Kimura, Ross Parkes, Daniel Maloney (all close associates of Ms. Anthony in her own troupe), Richard Kuch and Steve Rooks.
Mary Anthony, a native of Kentucky, began her career with a scholarship in dance with Hanya Holm in the early 40’s, eventually joining the Holm Company and becoming her assistant. She was an original member of the radical modern dance organization The New Dance Group in the 1940’s. Ms. Anthony danced in concerts with Joseph Gifford as well as appearing in many Broadway Shows. Her staging of the London production of Touch and Go, in which she danced one of the leading roles, resulted in a long association as choreographer for Italian Musical Theater.
Ms. Anthony started the Mary Anthony Dance Theater in 1956. Following the premier of Ms. Anthony’s signature work Threnody – for which composer, Benjamin Britten gave his special permission to use his Sinfonia da Requiem – Louis Horst wrote, “Here is the most beautiful and complete dance composition this observer has seen.” Her company performed throughout the United States for over 40 years, including appearances at Jacob’s Pillow, The American Dance Festival, the Berkshire Music Festival at Tanglewood and toured as part of the Dance Touring Program of the National Endowment for the Arts, and for over 30 years presented home season performance in New York City. Jennifer Dunning of the New York Times described Ms. Anthony’s Songs as “hauntingly lyrical with the emphasis on simplicity and ageless craft.” In 1996, Mary Anthony Dance Theater celebrated its 40th Anniversary seasons at The Sylvia and Danny Kaye Playhouse in New York City. In 2004 Ms. Anthony reconstructed one of her oldest works, Women of Troy, on Dancefusion, which was presented in Philadelphia along with her legendary solos Lady Macbeth danced by Mary Ford Sussman. In 2009 her work The Devil in Massachusetts from 1952 was reconstructed by the 360º Dance Company.
An internationally recognized choreographer, Ms. Anthony has had her works added to the repertory of Pennsylvania Ballet, Bat-Dor Company of Israel, the Dublin City Ballet, Dancefusion in Philadelphia and the National Institute for the Arts of Taiwan. Ms. Anthony taught at the Herbert Berghof Studio for Actors in New York City for many years. She taught at her own studio at 736 Broadway for over 50 years, retiring only last year. In November 2013 a Tribute to Mary Anthony was presented as part of Fridays At Noon at the 92nd Street Y, honoring her legacy in modern dance and her 97th Birthday.
Mary Anthony has been an extraordinary presents in the dance community and the artistry and depth of her choreography is timeless. She will live on through the dancers she trained and the people who loved her. Andrea Pastorella, one of her long-time students stated the following, “Mary continued to teach, she never lost her “Eagle Eye” even when the right eye failed she never missed a blink. She would only give a compliment if she really meant it. Her honesty was relentless. One of the things that she loved most was teaching her choreography workshops which culminated twice a year at her studio with performances. She used to say: ‘These shows are what I live for’!”
Ms. Anthony was the 2004 recipient of the Bessie Award for lifetime contribution to the field of modern dance. In 2006 she received the Martha Hill Award. Other awards and honors include: Joy Ann Dewey Beinecke’s Balasaraswati Award from American Dance Festival, American Dance Guild Award of Artistry, American Dance Association Award, New York State Dance Education Award, and Channel One New Yorker of the week. In 2004 she was entered into the Dance Hall of Fame as part of an installation for the New Dance Group at the Saratoga Dance Museum and in 2011 she received a Citation from New York City Comptroller Scott Stringer at her 95th birthday, declaring November 11 as Mary Anthony Day.
Donations in Mary Anthony’s memory can be made to the Mary Anthony Dance Theater Foundation and sent to 736 Broadway, New York NY 10003.