New York City Ballet – Classic NYCB II bill with new Justin Peck – New York
★★★✰✰ In the last week of its winter season, New York City Ballet unveiled a new work by its resident choreographer, Justin Peck, to a score by the popular neo-Minimalist composer Nico Muhly. It was a homecoming of sorts for Peck…
Gregory Maqoma – Cion: Requiem of Ravel’s Boléro – New York, Joyce Theater
★★★★✰ The dance style is a fusion of many elements of South African dance, other African and African diaspora influences, and modern and postmodern dance. It can be both liquid and percussive and has a complexity that is hard to take apart.
English National Ballet – 70th Anniversary Gala – London
★★★★✰ For those of us that have been involved with the company, no matter how small a part, it is clear that the ‘happy family’ that is English National Ballet, reveres and appreciates all who have been part of its 70 year existence.
Some Memorable Performances of 2019 – New York
I don’t really believe in lists, but it’s admittedly fun to look back over the year and reflect on moments that have stayed with me. So here they are, in no particular order…
Interview: Arthur Pita on choreographing “Alice in Californiland” for AXIS Dance Company
Arthur Pita’s latest work is called “Alice in Californiland” for the Bay Area AXIS Dance Company – to be premiered later this week, on Friday 25 October, Claudia Bauer caught up with him to find out what its all about – a thought provoking collision of Lewis Carroll and homelessness…
Gregory Maqoma – Cion: Requiem of Ravel’s Bolero – London
★★★✰✰ Gregory Maqoma’s theatrical storytelling, a potent mix of a capella, dance styles and scenography, projects a strong universal theme – grief.
RB, NBoC & ABT dancers at the Joyce Ballet Festival – Prog B, curated by Lauren Cuthbertson – New York
★★✰✰✰ I hadn’t seen much of the well-regarded Cuthbertson, so I was looking forward to this chance to get to know her (she appeared in four of five pieces), as well as the not-always-dubious introduction to new works by new choreographers…
Royal Ballet School – Holland Park bill (mainly Upper School) – London
★★★★✰ The show overall gave us a good slice of what ballet is in 2019, and just how adaptable the students need to be these days – exciting times for them and exciting for us in the audience as well.
Images Ballet Company – Interplay, Mirrors, On Lineage, Meadowdown – London
★★★✰✰ Images has done an excellent job of commissioning appropriate, innovative choreographers, allowing the company to exceed their expectations…
Royal Ballet – Frankenstein – London
★★✰✰✰ Could Liam Scarlett’s monstrous Frankenstein be fixed with more, better surgery? Evidently not, in this revival, three years after its creation.
Richard Alston Dance Company – Detour, Quartermark, Proverb, Brahms Hungarian – London
★★★★✰ Alston’s choreography is formal in that it has structure, style and steps, instead of resorting to running in circles. Its partnering etiquette is courteous rather than abusive.
Royal Ballet Flanders – Fall, Chronicle, Boléro – Antwerp
★★★★✰ For a very short while, Wim Vanlessen will enjoy the claim that he has performed for the Royal Ballet Flanders for more than half its existence. The company celebrates its fiftieth anniversary, later this year and Vanlessen joined in 1994. This performance was both a celebration of exceptional long service and a farewell…
New York City Ballet – All Robbins No. 4 bill – New York
★★★★✰ 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.
Australian Ballet – Murphy (Graeme Murphy tribute bill of 6 works) – Sydney
★★★✰✰ Within this potpourri of Graeme Murphy’s works, the highlight was “Grand”, a charming and poignant tribute he created in 2005 for his mother, a pianist, who died the previous year.
Feature – Frederick Ashton’s choreography for Le Rossignol – a masterclass with Sir Anthony Dowell
The Metropolitan Opera in New York staged “Le Rossignol” in December 1981 as part of a programme commemorating the hundredth anniversary of Stravinsky’s birth… the producer was John Dexter. He told Ashton, back in London, that he could choreograph two dancers as the Nightingale and the Fisherman on stage, while the roles would be sung by opera singers in the orchestra pit…
Suzanne Farrell Ballet – Forever Balanchine: Farewell Performances – Washington
★★★★★ As artistic director of her own troupe, Farrell was able to take her devotion to Balanchine and her aspiration to promote and preserve his legacy to a new level. For nearly 20 years, Washington audiences have enjoyed an annual mini-festival of Balanchine’s works…
Feature – Suzanne Farrell Ballet’s Final Performances in Washington
This season the Suzanne Farrell Ballet is bidding farewell to its audiences with final performances at the Kennedy Center Opera House, December 7-9. There will be two programs, each featuring a selection of George Balanchine’s choreographic gems…
American Ballet Theatre – Souvenir d’un Lieu Cher, I Feel the Earth Move, Daphnis and Chloe – New York
★★★✰✰ The choreographer and L.A. Dance Project director Benjamin Millepied is a mover and a shaker, a clever curator, a man of taste, a force in the dance world. But is he good choreographer?
Washington Ballet – Les Sylphides, Le Corsaire pdd, Bolero, Prodigal Son – Washington
★★★★✰ It was a pleasure to see this company in such a smart and wide-ranging program. It was even more rewarding to see the Washington Ballet dancers masterly navigating the numerous challenges…
Julie Cunningham and Company – Returning, To Be Me – London
★★★✰✰ A final poem, ‘Man Down’, calls for compassion and acceptance that we are all combinations of male and female. The message is in the words rather than in the bodies of the dancers.
