Save the date for the
Martha Graham School
Scholarship Bash & Benefit
Tues. Sept. 27, 2016
7:00 – 9:00pm
55 Bethune Street, 11th floor
Support the Martha Graham School at an intimate event, with drinks, passed hors d’oeuvres, and pop-up performances.
Featuring a Silent Auction with jewelry, performance tickets, exclusive experiences, and much more!
Tickets start at $150
Join the party & support
School Scholarship for only $80
Silent Auction items include…
Kate Spade handbag from the fall Cameron Street Collection
Tickets to Cagney the Musical
Apple Basket + Mom’s Standard cleaning + Lap Blanket + Graham DVD
Tickets to Sleep No More + Dinner at The Red Cat
Tickets to The Grand Paradise
Earrings from Catbird
Winery Tour with East End Bike Tours
Monday, Sept. 26 & Tues, Sept 27 at 8pm
STREB Extreme Action
(World Premiere of a FFD Commission)
Dada Masilo/The Dance Factor
American Ballet Theatre
Frederick Ashton’s Monotones II
Mi Soledad (Solea)
Wed, Sept. 28 & Thur, Sept. 29 at 8pm
Richard Alston Dance Company
with Montclair State University Vocal Accord
Rejoice in the Lamb
Aszure Barton & Artists
Wendy Whelan & Edward Watson
Arthur Pita’s The Ballad of Mack and Ginny
Cassi Abranches’s Suíte Branca
Fri, Sept. 30 & Sat, Oct. 1 at 8pm
CCN de la Rochelle / Cie Accrorap
Kader Attou’s Opus 14
While I Have the Floor
Hong Kong Ballet
Jorma Elo’s Shape of Glow
Bangarra Dance Theatre
Stephen Page & Djakapurra Munyarryun’s Spirit
Wed, Oct. 5 & Thur, Oct. 6 at 8pm
Jessica Lang Dance
Tesseracts of Time
Royal Ballet Flanders
Sidi Larbi Cherkaoui’s Fall
Alvin Ailey American Dance Theater
Alina Cojocaru, Friedemann Vogel, Johan Kobborg & The Sarasota Ballet
Frederick Ashton’s Marguerite and Armand
Fri, Oct. 7 & Sat, Oct. 8 at 8pm
Nederlands Dans Theater
Marco Goecke’s Woke up Blind
Alessandra Ferri & Herman Cornejo
A New Work by Wayne McGregor
(World Premiere of a FFD Commission)
Cloud Gate 2
Cheng Tsung-Lung’s Beckoning
New York City Center
131 W. 55th St
(BTW 6th & 7th Aves.)
I am a big fan of BalletX and I make sure to be front and center whenever they are performing the NYC area…It’s been exciting to watch this company grow and evolve into what I think, is one of the best small contemporary ballet companies in the United States.
I vividly remember the emotionally stirring performance of Alex Ketley’s 2009 work Silt, shown as part of the Joyce Theater’s 2013’s Ballet 6.0 festival. There was a dark edginess to the work. Mr. Ketley’s use of the body in space was innovative and possessed a haunting yet melodic structure. The piece was fresh, riveting and powerful… BalletX gave a very memhttps://www.youtube.com/watch?v=xtbDstFc5fMorable performance …I remember it as being one of the best performances I had seen that year….
In 2015 as part of the Joyce Theater’s Ballet Festival, the company performed the strange, but brilliant, Sunset, o369 Hours, a co-production by Matthew Neenan and Rosie Langabeeris. It was the telling of the tragic tale of the first airmail service flight between Now Zealand and United States that took place in 1938. Captain Edwin Musick and a crew of six were surprised to find that shortly after their departure from Pago Pago an oil leak was discovered. Deciding to dump the fuel and return to Pago Pago for repairs the plane unexpectedly exploded in mid-air, killing all.
So, with that said it saddens me to report that despite my love for everything BalletX…their recent performance at the Joyce Theater, August 16 – 24, 2016, was, to say it nicely, somewhat lackluster.
Matthew Neenan’s Show Me, with music from Padma Newsome, Aiofe O’Donnell and Christina Courtin (all of which are played instrumentally by the string quartet Brooklyn Rider) premiered at the Vail International Dance Festival in 2015. The work has a strange mix of the abstract merged with the classical vocabulary and is filled with quirky movements.
There is dialogue happening throughout the piece. It is in how the dancers interrelate to one another. But it is not a clear dialogue, it becomes muddled and then lost….There are too many breaks in the piece that interrupts both the flow of the work and the before mentioned dialogue between dancers. There were periods throughout where the music would stop and the dancers would move slowly.
The piece is at times silly and playful and then not…as if it could not make up its mind as to which of the three it should be, silly, playful or not. The women are en pointe and the work is filled with some dazzling pointe work and exquisite arabesques that hang suspended in time for the briefest of moments.
Christine Darch’s much be commended, for her costumes were exquisite. There are reminiscent of bathing suits circa 1920. A jewel-toned blue predominated and on some of the dancers would occasionally ombré into red. Now, combined with Drew Billau’s lighting design, the two made this work, despite a flaw or two, visually appealing.
Jorma Elo’s Gran Partita had its premiere in 2014 at the Wilma Theater in Philadelphia. (BalletX is the Wilma Theater’s resident dance company.) Using taped music of Monteverdi, Bach, Mozart and Bach the piece has Mr. Elo’s signature style of blending contemporary movement with the classical vocabulary. His work is noted for being almost but not quite post-classical which is what gives him the freshness so noted in his work.
I have seen several of Mr. Elo’s work and sadly Gran Partita does not seem destined to be one of my favorites. I thought it paled in comparison to his Plan to B or ONE/end/ONE and then there is that wonderful performance given by Marcelo Gomes’ of Mr. Elo’s Still of Kings. Perhaps if I see Gran Partita again my perspective will change…
But it was Trey McIntyre Big Ones that saved the evening. Set to songs by late Amy Winehouse in combination with Reed Bartleme and Harriet Jung’s strange buy very sexy costumes…I set there fascinated from the moment the curtain went up till it came down.
There is genius to be found in this work, it’s not just in the originality of the concept but also in how Mr. McIntyre portrayed the production as a whole. I must admit, when I heard that BalletX and Trey McIntyre had plans to use Amy Winehouse’s music in a new work…I was skeptical to say the least….
The work was a little zany…but that’s what I found so fascinating, because nothing, absolutely nothing about the piece should have worked…but worked it did….The ten dancers come on stage and don these black headpieces with what looks like two foot tall rabbit ears…I was told they were an homage of sorts to Ms. Winehouse signature hair-do….
Mr. McIntyre’s choreography is capricious and a tad unorthodox. It is the dancers, who are totally engrossed in the piece, that sales the work. Chloe Felesina was wonderful and took us, the audience, with her as she danced. I have never seen Edgar Anido dancing better, during Jorma Elo’s Gran Partita his Cuban school of classical training was in strong evidence and great to see.
Trey McIntyre’s Big One was everything I had hoped it would be and more…
Now, please do not misunderstand me….it’s not that the performances given by BalletX during this year’s Joyce engagement were bad, just the opposite…Frankly, I do not think Ballet X could give a bad performance even if they tried. It’s just that BalletX has set such a high bar for itself that when I see them in performance I am prepared to be dazzled…the only piece that made me sit up and take notice was Trey McIntyre’s Big Ones…and for me….that piece alone was well worth the piece of a ticket….
“The James Dean of the ballet world.”
Opening in Theaters and On Demand September 16th, 2016
“Without question, the most naturally gifted male ballet dancer of his generation.”
Directed by: Steven Cantor
Starring: Sergei Polunin
Producer: Gabrielle Tana
Blessed with astonishing power and poise, Sergei Polunin took the dance world by storm and became the Royal ballet’s youngest ever principal. At the peak of his success, aged 25, he walked away, driven to the brink of self-destruction by stardom – his talent more a burden than a gift. Here is an unprecedented look into the life of a complex young man who has made ballet go viral. Urban rebel, iconoclast, airborne angel, Sergei is transforming the shape of ballet as we know it. But virtuosity comes with a high price. How can you be free to be yourself when you are ballet’s ‘hottest property’?
Produced By Fou Glorieux
Created & Choreographed By Louise Lecavalier
Performed By Louise Lecavalier & Frédéric Tavernini
Lighting Design: Alain Lortie
Music: Mercan Dede
Normand-Pierre Bilodeau + Daft Punk + Meiko Kaji
Normand-Pierre Bilodeau + Philippe Dupeyroux
Costume Design: Yso
Premiered at Tanzhaus Nrw, Düsseldorf, on December 7, 2012
Three American premieres and two U.S. Choreographic debuts performed by principals from American Ballet Theater, Mariinsky Ballet, New York City Ballet and Stuttgart Ballet highlight Ardani 25 Dance gala, August 19 and 20 at 8pm at New York City Center
A short documentary by award-winning filmmaker Charles Evans Jr. introduces the evenings with backstage and front-of-house glimpses of Ardani productions seen on stages throughout the world over the past five years.
Instead of the usual gala fare–bits of firecracker variations and pieces of ballet classics
“Ardani 25 Dance Gala” at New York City Center, August 19 & 20, 2016,
is classic Danilian. The intrepid impresario, who has never side-stepped risk, will celebrate Ardani Artists’s quarter century of producing in the United States and abroad with a trio of U.S. premieres, two by young, unknown, but up–and–coming Russian choreographers, and one by American Ballet Theatre principal Marcelo Gomes.
Challenging their performers’ stylistic and theatrical versatility, the three dramatically different ballets feature 16 principal dancers from the American Ballet Theatre, Mariinsky Ballet, New York City Ballet, and Stuttgart Ballet.
“Impresario: Dancer in New Dimensions,”
a 500–page coffee table book of 750 black and white and color photographs chronicling performances produced by Ardani Artists over the years and backstage portraits of the participating artists.
“Impresario: Dancer in New Dimensions,”
will be released in conjunction with the New York City Center performances.
The international line-up of contributing photographers includes
Patrick Demarchelier, Alice Blangero, Lucas Chilczuk, Fabrizio Ferri,
Michael Khoury, Jason Kim, Alessio Migliardi & Nina Alovert.
“Impresario: Dancer in New Dimensions,”
will be available at major bookstores in New York City,
Tickets range between $55 – $175 and can be purchased by calling 212-581-1212;
at the City Center box office located at 131 West 55th Street
or online at nycitycenter.org
10 Hairy Legs seeks male dancers for our 2016-2017 season of 28 weeks. Dancers must have professional experience and excellent modern and ballet technique. We value those committed to working at a high technical level who thrive in a collaborative environment, embrace new ideas and concepts and are responsible group members.
We are a repertory company so you must welcome and be open to a wide range of styles and dance idioms. Competitive performance and rehearsal pay. Seasons in NY and NJ; national and international touring. We encourage dancers of diverse backgrounds. Additional outreach and education opportunities.
There is no fee to audition.
You must register in advance and bring your resume and head shot to the audition.
(Scroll down to bottom of page for form.)
Saturday, Sept. 10, 2016
2pm – 6pm
Gibney Dance Studio 5/2
You will be notified shortly after the audition if you invited to attend the Call Back.
Sunday, Sept. 11, 2016
Noon – 4pm
City Center Studios
130 W. 56th St.
10 Hairy Legs is an all-male repertory dance company performing existing and newly commissioned works. We have commissioned 12 works from choreographers Doug Varone, Doug Elkins, Tiffany Mills, Manuel Vignoulle, Julie Bour, Megan Williams and founder Randy James. We have served more than 50,000 patrons, students, artists and educators throughout the NY/NJ region, in NYC at New York Live Arts, The 92nd Street Y, Brooklyn Dance Festival, Modern Dance at Bryant Park, Dixon Place, Gibney Dance, Joe’s Pub, West End Theatre, Fire Island for the DRA Benefit Week End, Dance at Socrates, Koresh Come Together Festival; on tour in The Cayman Islands, New England; broadcast nationally and internationally on NJTV’s State of the Arts, The Meredith Vieira Show and Nick Cannon’s Red Nose Dancathon, and in residence at the Kaatsbaan International Dance Center. In August 2016 we tour to the Choreogus Dance Festival in Tulsa, OK, and in November 2016 we will be the only American dance company appearing at the Ikapa Dance Festival in Cape Town, SA. We provide a wide range of education programs for all ages focusing on the many facets of maleness as expressed through dance.
In 2013 Jennifer Muller contacted New York Live Arts and then Elisa Monte about creating a shared program for established choreographers. This year the program presented works by Elisa Monte, Jennifer Muller, Margo Sappington and Molissa Fenley in Monte/Molissa/Margo/Mueller – LIVE! At New York Live Arts, June 14-18, 2016.
Opening the evening was the premiere of Elisa Monte’s Dextra Dei with music by Tibor Szemo and lighting by David Moodey. From the program notes…”Dextra Dei was started in 1989 in response to what was then the AIDS assault on my community of friends. It was a men’s quartet which premiered in Palais des Festivals et Congres, Cannes, France. I’ve decided to bring the work back into my repertoire, as well as premiere an additional new section adding four women to the work – Elisa Monte.”
Dextra Dei began with four men slowly rolling onto the stage from upstage right. It is not evident that it is four men, not at the very beginning, lights and shadows allow glimpse of a moving mass of anatomy.
The work is a powerful statement of the AID’s crisis so rampant in the 80’s and 90’s. The four men provide succor while giving strength and support to each other. When one jumps into the air he is caught and almost cradled/caressed before he stands and joins the others.
Four women join the men showing both their compassion and support. You see four strong women express a combination of grief and outrage of the losses they have endured. But eventually the women withdraw and the four men are left alone on the stage, still struggling, but still supporting and caring for one another.
The world premiere of Molissa Fenley’s The Third Coast (Parts 1 and 2 of the Water Table) was a duet performed by Christiana Axelsen and Rebecca Chaleff. Though the duet possessed a sense of purity, it still seemed to be missing a strength of statement. It was performed in two sections; both of which went on for a tad too long. The works are too similar in concept and construction to be seen back to back. It could have easily been just long one duet from start to finish. Now I am not saying I did not enjoy the piece….it just has a few kinks that need to be worked out is all…
Now I have to say that Molissa Fenley is Molissa Fenley for a reason and that reason is evident in her solo performance in the New York premier of Mali (Part 8 of Water Table). Ms. Fenley is able to capture and hold your attention in ways that many soloists lack. You witness her focus as she seamlessly blends her movement with both the music and lighting to create a visual statement of thought and expression. She moves her arms in pronounced angles while her body tilts forward or too the side all the while projecting a beautiful sense of serenity…It was a powerful performance and I am richer for having witnessed it….Thank you Ms. Fenley……..
Margo Sappington’s Entwined is set to the music of Eric Satie. The beginning I thought slow and did not truly hold my attention but as the piece progressed I found myself pulled in. I’ll be honest I am 50/50 on Ms. Sappington’s choreography. Of her works I have seen I find myself left with a feeling of either blasé or of being totally invested…for Entwined I was totally invested….
With Entwined, Ms. Sappington utilizes the classical vocabulary to create a stunning piece of contemporary ballet. The work had an inherent lyricism as well as musicality that many of Ms. Sappington’s pieces are known for….
Jennifer Muller presented the world premiere of Working Title…now I am unsure if Working Title is the just that… a title to be used during the construction of the work…
Working Title is a fast paced work “about the difficulty of defining relationships in today’s world.” The dancers move in a controlled frenzy…relationships between the dancers are fleeting but still pronounced.
The work grabs your attention right from the start and I’m not sure I even blinked while watching the performance. I must be honest… I have been watching Jennifer Muller’s work, on and off, since the 80’s… for whatever reason her pieces never seemed to grab me or speak to me…
But with both this year’s Working Title and last year’s Alchemy… let’s just say I am not sure what Ms. Muller has been up to the last few years….but whatever it is… please don’t stop. With both Working Title and Alchemy Ms. Muller has become the choreographer to watch.
The two pieces I have seen over the last two years both exhibited her “out-of-the-box-thinking” which she applies with innovated movement and a willingness to experiment with the body in space. All I can say is I can’t wait to see what see comes up with next year…..