Alvin Ailey American Dance Theater Lazarus, Revelations ★★★★✰ New York, City Center 30 November 2018 www.alvinailey.org www.nycitycenter.org Forward to Ailey In March of 1958, Alvin Ailey presented his first evening of dance, at the 92nd Street Y. Sixty years on, the company is going strong, having survived the death of its founder in 1989 and the successful transfer of leadership from Ailey to...
Author - Marina Harss
Marina Harss is a free-lance dance writer and translator in New York. Her dance writing has appeared in the New Yorker, The Nation, Playbill, The Faster Times, DanceView, The Forward, Pointe, and Ballet Review. Her translations, which include Irène Némirovsky’s “The Mirador,” Dino Buzzati’s “Poem Strip,” and Pasolini’s “Stories from the City of God” have been published by FSG, Other Press, and New York Review Books. You can check her updates on Twitter at: @MarinaHarss
★★★★✰ In the last several years, the choreographer Alexei Ratmansky has developed a sideline to his main choreographic efforts: the reviving of ballets by Marius Petipa in a way that represents the original choreography with as much fidelity as possible...
★★★✰✰ It’s fascinating to see how Balanchinean charm and wit are interpreted by dancers for whom the Balanchine repertoire is more of a foreign language.
★★★✰✰ I was happy to discover that, yes, in fact, something about this more intimate, immersive setting did alter the work’s energy and rhythm, its overall feel.
★★★✰✰ The fall season is too brief, particularly because it always feels as though it takes the company a few days to warm itself up. The dancing at the gala on Oct. 17 was a little slapdash, but by Friday things had begun to settle.
★★★✰✰ Long Run is maniacally well constructed, intently and precisely performed, vigorous, and smart, and yet almost completely resistant to interpretation.
★★★★✰ At moments, I was ecstatically aware of the beauty of the body in motion.
★★★✰✰ No evening of new works is perfect; the excitement lies in the hope that at some point some magic will happen. And in that solo for Taylor Stanley by Kyle Abraham, we got a glimpse of that magic.
★★★★✰ The company seemed to be dancing with a special ferocity, as if to prove its worth and convince the world that this enterprise is, indeed, worth preserving and saving.
★★★✰✰ The dance comments, illustrates and riffs on ideas and sounds in the music. Like Marsalis’s compositions, it’s neither banally literal, nor thoroughly abstract, but lies somewhere in the middle, deriving its inspiration and energy from currents in the music.
★★★✰✰ What will Co.Lab become? I look forward to finding out. Meanwhile, it’s simply encouraging to see these dancers and emerging choreographers create something of their own.
★★★★✰ The audience laughs, the company looks great, the orchestra... sounds full and vibrant, and you leave the theatre with a rare feeling of joy. Lightness of spirit and complexity of execution in one delightful package.
★★★✰✰ Bouder's pick-up ensemble of eight, which she refers to as an arts collaborative, reflects her ideals. It is racially diverse; the choreographers include both men and women. Not all the choreographers are white. This should be par for the course, but it’s not.
★★★✰✰ But, at least to my eye, the production’s triumph is its final lakeside act. There, the formations of swans, as originally choreographed by Lev Ivanov, become intricate, delicate, lyrical, and intensely moving.
★★★★✰ Harlequinade is pure entertainment, a work of art whose entire raison d’être rests on its charm and stylishness. If you require that your art contain deeper meanings, read no further...
★★★★✰ After a week of Giselle, during which Natalia Osipova and David Hallberg had their much-awaited re-match, the company began its season in earnest on May 21, with a spring gala that included two new works and excerpts from a third...
★★★★✰ It was a good night for Afternoon of a Faun, in particular. Chase Finlay, débuting in the role of the young dancer sensually lolling about a ballet studio, brought back the eroticism this ballet often lacks.
★★★★✰ The centenary celebration bills are more than enough to give a sense of Robbins' breadth, theatrical savvy, stylistic curiosities, and, perhaps most unique of all, his ability to present dancers as human beings onstage.
★★★✰✰ One of Robbins’ great talents was sniffing out the style of his time, but this inevitably places a date stamp on his work.
★★★★✰ It’s one of the most striking characteristics of the Mark Morris Dance Group. A common sense of focus, an alertness to the music and to each other.