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…..
An established name in modern dance with a reputation for performing sensual, articulate, and exquisitely musical works, RIOULT Dance NY performs two programs. Women on the Edge… Unsung Heroines of the Trojan War, a profound and timeless anti-war statement, features the world premiere of Cassandra’s Curse with commissioned music by Richard Danielpour performed by the Uptown Philharmonic under the baton of Kyle Ritenauer. The work is narrated by guest artist Kathleen Turner on June 21, 23 and 25. The second program is distinguished by the New York City premiere of Polymorphous, a piece exploring the subjectivity of perception through movement and technology; a suite of magnificent duets drawn from some of Pascal Rioult’s finest works; and fan favorite Bolero.
“WOMEN ON THE EDGE…Unsung Heroines of the Trojan War”
Cassandra’s Curse (World Premiere)
Iphigenia, On Distant Shores
Jun 21 & 26 at 7:30pm; Jun 23 & 25 at 8pm
‘The program will be narrated by
guest artist Kathleen Turner on Jun 21, 23, & 25.
Polymorphous (NYC Premiere)
Dream Suite, Duets, Bolero,
Jun 22 at 7pm; Jun 24 at 8pm; Jun 25 & 26 at 2pm
For the first time in 18 years the Canadian contemporary ballet company, Ballet BC (British Columbia) appeared at the Joyce Theater featuring the works of three female choreographers, June 1-5, 2016.
The evening opened with artistic director’s Emily Molnar’s 16 + a room. Ms. Molnar is a former member of Ballet Frankfurt so it should come as no surprise to see the influences of William Forsythe in her choreographic choices. As I watched I was impressed in how she incorporated the body in space in relation to Dirk P. Harbrich’s original score as she wove the dancers and the music into a visual tapestry
There were moments in the 16 + a room where I was reminded of Mr. Forsythe’s masterpiece, In the Middle, Somewhat Elevated. For me, that is a great compliment, In the Middle, Somewhat Elevated is one of my top ten dance works I’ve ever seen…and I have seen a lot.
The curtain opens and the dancers are standing still, momentarily another dancer walks on stage carrying a sign that read “THIS IS A BEGINNING” and so it is. In a burst of energy dancers start running off the stage.
Within moments Rachel Price and Scott Fowler begin a powerful and emotional duet. The moment they touched you felt an energy, and unbridled passion as Mr. Fowler supports Ms. Price as she twist, turns, bends her body in quick constant movement…their duet was the star of the evening… Bravo to both Ms. Price and Mr. Fowler.
Crystal Pite’s Solo Echo was, for me rather somber affair. I am use to seeing suich works by Crystal Pite as Ten Duets on a Theme of Rescue or Grace Engine…both of which pack a powerful punch.
Solo Echo has a restraint to it, a mellower energy than what I have come to associate with Ms. Pite’s choreography. There is sense of caring and concern shared among the dancers, They stand in a line with each dancer’s arms encircling the dance in front of them…that dancer slips from those arms is if he is too difficult to contain, Solo Echo was a beautiful piece and exceptional danced but just not what I had expected….
Closing the evening was Bill choreographed by the Israeli duo of Sharon Eyal and Gal Behar. So far I have seen four of their works… Too Beaucoup, Sara, Killer Pig and now Bill…and after the bows and when the curtain has fallen…I am always left wondering one thing….Why!
The manner in which this choreographic duo envisions the use of body in space, is for me, just strange….and not in good way. It’s as if the two insist on making the body seem as unattractive as possible. Legs bent, spine arched with arms reaching with the fingers spread like some type of spider. The head of the dancer sometimes even seems at odds with the rest of the body.
To be honest the audience seemed to have greatly enjoyed Bill, But sadly, after watching the performance, Bill left me with the same unanswered question…Why!
Iconic director Robert Wilson and legendary performer Mikhail Baryshnikov are joining artistic forces to create a new performance work based on the famous diaries of Russian dancer and choreographer Vaslav Nijinsky who, in his prime, was recognized as the most celebrated male dancer in the Western world, performing with Sergei Diaghilev’s renowned Ballets Russes. The project is the second collaboration for Mr. Wilson and Mr. Baryshnikov, whose production of Daniil Kharms’ The Old Woman, featuring Mr. Baryshnikov and Willem Dafoe, has been touring nationally and internationally to critical acclaim.
Of Nijinsky’s diaries, first published in 1936, American author Henry Miller wrote: “It is a communication so naked, so desperate, that it breaks the mold. We are face to face with reality, and it is almost unbearable…had he not gone to the asylum we would have had in Nijinsky a writer equal to the dancer. Letter to a Man is a theatrical work performed by Mikhail Baryshnikov, who enters the fragmented mind of the great dance artist as he descends into madness. As always in Wilson’s works movements, text, lights, set and music are equal parts of the same creation where, as he says, “all theatre is dance”.
Direction, sets, lighting design
Robert Wilson with Mikhail Baryshnikov
Based the autobiography “The Life of Vaslav Nijinsky”
Text: Christian Dumais-Lvowski
Dramatury: Darryl Pinckney
Music: Hal Willner
Costumes & Makeup: Jacques Reynaud
Collaboration movements & spoken text: Lucinda Childs
Lights: A.J. Weissbard
Décor: Annick Lavallée-Benny
Video: Tomek Jeziorski
Scenery: Thaiz Bozano
Technical Director: Reinhard Bichsel
Lighting Technician: Marcello Lumaca
Commissioned by the Spoleto Festival
BAM 2016 Next Wave Festival
Executive Producer: CRT Milano
Thanks to the Estate of Vaslav and Romola Nijinsky