★★✰✰✰ Strasbourg 1518 has been lauded as 'head buttingly confrontational' and an original 'dance for today'. It isn't. Familiar Bausch tropes don't really reflect 1518's psychogenic mania, which was communal, or today's experience of isolation, stress and tedium.
Tag - Kyle Abraham
★★★★✰ As a special one-off, Michael Trusnovec, now a guest artist, danced the solo from George Balanchine’s spiky and ascetic Episodes which he made for Paul Taylor in 1959.
★★★✰✰ Liebeslieder Walzer is one of the most precious of all Balanchine’s ballets; within its fifty-minute span it seems to contain a world of emotion, both profound and infinitely civilized.
★★★✰✰ Major draws were the new Justin Peck and a revival of William Forsythe’s 1992 commission Herman Schmerman, not seen in full since the 90s...
Other years have been more exciting, I think, but this one has had its share of remarkable performances, including a few thrilling ones. Here, in no particular order, are the ones that really stood out, for one reason or another.
★★★✰✰ 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.
★★★✰✰ I very much like Brooks’ work, particularly his approach to rebound, points of contact in partnering and his nuanced use of accumulation...
★★★✰✰ Pavement, from 2012, takes as its touchstone the 1991 film Boyz n the Hood, John Singleton’s hard-hitting coming-of-age drama...
★★★✰✰ I caught all four new works: an expanded version of Michelle Dorrance’s Myelination, Kyle Abraham’s Drive, the Sara Mearns and Honji Want collaboration No. 1, and Mark Morris’s solo Twelve of ‘em for David Hallberg.
★★★★✰ Ballet Across America – a festival that showcases the stylistic, creative and geographical diversity of American ballet – returned to the Kennedy Center this month...
★★★✰✰ More than anything, Peck's "The Times are Racing" reminded me of the movie Rebel Without a Cause. These kids are uneasy, but what is the object of their unease?
★★★★✰ There is no limit to how often one can see Ailey’s 1960 masterpiece Revelations. The elation is always the same.
★★★✰✰ It’s a truism that any afternoon that includes Alvin Ailey’s Revelations is apt to leave you happy.
Warmth, exuberance, power, finesse – all these qualities infuse everything they do.
Every fall, just after Thanksgiving, Alvin Ailey American Dance Theater sets up shop at City Center, as sure a sign of the season as Christmas carols at the grocery store.
If there was an award for the most likely New York dance troupe to be compared to a sportscar, I'd give it to Abraham.In.Motion. The choreography is, like the best supercars, all torque and velocity...
The whole evening has the feeling of an extended experiment. We see Whelan ridding herself of ballerina habits and trying on new clothes.
Ultimately, it mattered less what Whelan and her collaborators were doing, and more that they were doing.
The evening is divided into two parts, with images of love and coupling more dominant in the first and greater abstraction seeping into the second.
This company is the definition of esprit de corps, period.