Unexpected Combos

Misty Copeland in Ash. Photo: Stephanie Berger

Now 16 years old, Fall for Dance’s audience has lost some of the mania that was a given years ago, with viewers shrieking and whooping for, improbably, ballet dancers doing fouettés. But after the first act of 2019’s opening night, which included a solo for Misty Copeland choreographed by Kyle Abraham, the latter was returning to his house seat, and got a standing ovation from the intermissing crowd. After a shy wave and a smile, he was followed by his lighting designer—who also got an ovation, if less fervent. Such is the crowd at New York City Center’s FFD—taking ownership of the art form onstage and in the enthusiastic house.

In her solo, Ash, Copeland flitted and spun in short, cursive phrases punctuated by poses that articulated her muscular, curving limbs. The stage was bare except for a big lighting rig which held a spotlight trained on her. She wore Bartelme + Jung’s costume of a gold panné leotard under vertical widths of chiffon that poofed out as she moved, evoking a jellyfish pulsing through the water. Her aspect felt private, internal, and not directed at pleasing the audience, though that’s exactly what she did.

Ballet in August is now a thing

Joseph Gordon and David Hallberg in Song of a Wayfarer. Photo: Maria Baranova

Ballet has a major cultural presence in New York, with two resident world-class companies (New York City Ballet and ABT), and visiting companies passing through with regularity. In recent years, the Joyce Theater—one of the city’s foremost venues for ballet, albeit on a smaller scale—has presented an evolving summer ballet series featuring a mix of emerging and/or female choreographers, chamber groups, and this year, programs curated by members of London’s Royal Ballet.

Program C, curated by Jean-Marc Puissant, led off with a premiere by ABT dancer Gemma Bond—Then and Again (music by Alfredo Piatti). Bond’s cast largely comprised fellow ABT dancers. Through duets, trios, and groupings, Bond sketched out a sort of triangle between Stephanie Williams, Thomas Forster, and Cassandra Trenary, with Williams getting left out of the mix eventually. The style is classical, organically pleasing, with 90º elbows, arched lifts. Forster sweeps Trenary low, in circles, so her toes brushed the floor. Although essentially abstract, the movement evoked curiosity, anomie, and passion.It’s a bit odd that I’ve seen more of burgeoning choreographer Bond’s work in New York over the last decade than that by Maurice Béjart (1927—2007), the Frenchman who created in the last half of the 20th century (and whose company was once called Ballet of the 20th Century). His Song of a Wayfarer, to Mahler lieder, was staged by Maina Gielgud on David Hallberg (ABT) and Joseph Gordon, a recently promoted principal at NYCB. It is a rare male ballet duet, another plotless work in which psychological states are conveyed through gesture and intent. 

Notes on ABT's company, plus Sleeping Beauty

Aran Bell in Swan Lake. Photo: Gene Schiavone.

ABT’s two-month Met season has ended, coinciding with the traditional announcement of promotions. Here are some notes on the dancers and month two; a review of the first month of the season was published in the July/August Brooklyn Rail.

Dancer notes

There’s no surprise that Aran Bell moves from the corps to soloist; it wouldn’t have even been a surprise if he was made a principal, with all the heavy lifting he’s done in the last month. (Literally. As in Devon Teuscher, Hee Seo, and Isabella Boylston, not that they’re heavy, but…) Now 20, and 6’3”, he has matured very quickly in the last few years—so fast that his headshot on ABT’s website makes him look 10 years younger than he does today. He was tapped for Princes Siegfried (Swan Lake, with Devon Teuscher) and Désiré (Sleeping Beauty, with Hee Seo, and then subbing for a sick James Whiteside with Isabella Boylston). Bell now fits the physical profile of a prince, with remarkable poise and steady partnering that might not be expected for someone so young. His leaps are stunning, his line polished and attenuated. He will only mature as an artist, gain confidence, and receive more and more high-profile roles. Watching him rise through the ranks is like watching a film in fast forward.

Taylor + OSL + Bach

Michael Trusnovec in all at once. Photo: Paula Lobo

Most of us don’t want to think about mortality, but let’s face it—we’re all human. Paul Taylor Dance Company is no doubt keenly aware of this now. It is moving forward under the plan structured while Taylor (who died last year) was alive—to showcase older classics by his peers, and to cultivate younger modern choreographers while keeping his substantial repertory vibrant, creating a kind of continuing dialogue and context for the importance of Taylor’s work. This larger project is called Paul Taylor American Modern Dance.

There’s another twist this year—the rescheduling of the main PTAMD season to Oct/Nov at the Koch, and the addition of three, all-Bach spring programs with Orchestra of St. Luke’s in the 2019 OSL Bach Festival, performed at the uptown Manhattan School of Music. (OSL performs music concerts at other venues.) Add to the mix the long-dreaded retirement of the peerless Michael Trusnovec after the OSL season, plus the exit of Parisa Khobdeh, Michelle Fleet, Sean Mahoney, Laura Halzack, and Jamie Rae Walker after the fall PTAMD season, and it’s a tectonic shift in a company that reveres tradition and longevity. Until the PTAMD project began in 2015, the troupe relied on strict programming formulas for its long season—up to 20 dances by Taylor, with three to a program; the dancers listed by tenure.

Reich Richter Pärt Mercado Little Spain

Reich Richter Pärt. Shown: paintings by Gerhard Richter, with singers mingling with the audience. Photo: Susan Yung 

With Reich Richter Pärt, the Shed offered a performative experience that differed from the abundant fare in New York. Practically speaking, this event could take place in one of the hundreds of large art galleries that dot the city, but it is the match-making at a certain level (in this case, by co-curators Alex Poots and Hans Ulrich Obrist) that differentiates the Shed event. The three collaborators—composers Arvo Pärt and Steve Reich, and visual artist Gerhard Richter—make work that, to put it in mercenary terms, commands a high price, or is in great demand. It was a visual and aural immersion in work by these titans of contemporary culture, in a gleaming, sterile venue in a fancy-shmancy new neighborhood.

Martha Graham's 2019 Legatees

Charlotte Landreau, Lorenzo Pagano, Lloyd Knight, Anne O'Donnell in Untitled (Souvenir). Photo: Brian Pollock

Choosing Pam Tanowitz to choreograph a commission for Martha Graham Dance Company highlights Graham’s ever-growing legacy as it zigzags through generations. Tanowitz’s style is most often compared to that of Merce Cunningham’s—formal, angular, classically-based, rigorous. Before founding his own company, Cunningham danced with Martha Graham. And while their choreography differs in innumerable ways, he retained her senses of plasticity, theatricality, and purity of line. These elements can be found In Tanowitz’s new work, Untitled (Souvenir), seen at the Joyce Theater on April 11.

Hubbard Street's Crystal Pite Program

Grace Engine. Photo: Todd Rosenberg

Choreographer Crystal Pite harnesses the potency of the stage and all its components to create an atmospheric microcosm within each dance. Hubbard Street Dance Chicago performed three of them at the Joyce recently, giving New York audiences a concentrated, if bleak, dose of an accomplished choreographer whose work is primarily seen here in mixed repertory programs. The company, under the artistic direction of Glenn Edgerton, also brought a program of work by Ohad Naharin.

In the first of two Pite duets, A Picture of You Falling, the lighting design by Alan Brodie is the de facto set design—the lamps, fixed on poles, are on rolling stands that form a semicircle upstage. Dancers move through and around them. Jacqueline Burnett and Elliot Hammans performed to a mellifluous voiceover by Kate Strong, Owen Belton contributed supplemental music. To the line, “This is the sound of you collapsing,” Hammans sinks, articulating each limb onto the floor; descriptive hand gestures are done with a theatrical flourish. The overall effect integrates the movement with the text/sound and lighting, creating the sense that one element could not be removed without subtracting substantially from the whole.