Category — Dance
New York City Ballet dancers reflect on their co-founder’s legacy
This week, New York City Ballet opens its spring season with a dozen ballets by 11 different 21st-century choreographers. That’s an impressively diverse collection of artists, but the modern focus means that dances by George Balanchine, the company’s co-founder, will spend a few days off the roster.
Granted, no one is questioning Balanchine’s stature as one of the most important 20th-century choreographers, and NYCB will present a substantial number of his works later in May. But as the company’s repertory has diversified in recent decades, one wonders: How do current NYCB dancers view their progenitor’s contributions?
For an answer, consider Ashley Bouder and Amar Ramasar. Both are highly contemporary dancers, often chosen by visiting choreographers who create works on the company. However, they are very clear about why they wanted to be part of this troupe.
“The majority of us still come into the company wanting that Balanchine and [Jerome] Robbins repertory,” says Bouder, a principal dancer since 2005 and one of NYCB’s most fearless technicians. “I think his ballets—and the way we approach them—are very current. Choreographers today are still massively copying that kind of energy and movement, and things that Balanchine invented. I think this company has a very strong sense of its history, so we know how old the ballets are. But then when you dance them, they certainly don’t feel old-fashioned at all.” [Read more →]
May 1, 2014 3 Comments
For its 30th season, Stephen Petronio Company looks forward and backward at the same time
Stephen Petronio’s choreography intermingles discipline and wildness, with an underlying structure that gives his dances heft. In landscapes where danger lurks amid beauty, there’s always something significant at stake.
What’s more, these stakes always feel immediate. Petronio’s dances resonate with the moment in which they are created—reacting, responding, and commenting in fascinating ways. A cutting-edge group of collaborators, including visual artists like Cindy Sherman and composers like Laurie Anderson and Rufus Wainright, also helps his work speak to our time.
To that end, Stephen Petronio Company’s 30th anniversary season at the Joyce Theater (April 8 – 13) will careen forward even as it engages with the past. The major premiere on the program, Locomotor, explores the idea of “traveling forward and backward through space and through time.” He’s also made a new solo for himself, Stripped, that investigates the specific possibilities of a mature male body. [Read more →]
April 4, 2014 No Comments
Inside Paul Taylor Dance Company’s ambitious new season
It’s almost an embarrassment of riches—the generous collection of 23 dances the Paul Taylor Dance Company is performing during its season at the David H, Koch Theater. Created by Taylor over a span of 53 years, they include the world premiere Marathon Cadenzas, as well as as Fibers, a 1961 work that has not been performed for half a century.
For the audience convening at Lincoln Center through March 30, this extensive array of Taylor pieces demands careful scheduling. For the company’s dancers, it means three weeks of quick costume changes, shifts between celestial loveliness and maniacal ferocity, and intensely physical performing that they can’t get enough of.
“He’s got such a great sense of musicality,” says Robert Kleinendorst, who’s been with the company for 14 years. “What I really appreciate about Paul is that he’s not a slave to the music. He lets the movement do a duet with it. You’re dancing with the music; the music and the choreography are partners in the best sense. Not one or the other is in control. It’s so freeing to dance that way.”
Majoring in musical theatre, Kleinendorst initially took dance classes with that in mind, but his focus quickly shifted. As a graduation gift, his parents paid for a Paul Taylor summer intensive, after his dance professor suggested he had the right build for the company. “After the first day, I knew that was all I wanted to do. I’d only seen his choreography on video, but once I felt it on my body, I knew,” he says.
He made his way to New York, took classes at the Taylor School, danced with Taylor 2, and then joined the main company. His robust energy, invigorating spontaneity, and natural comic skills will be on view in the numerous works he dances this season.
Heather McGinley came to five company auditions before she was hired in 2011. She wanted to dance Taylor’s choreography from the first time she saw it performed, as a high-school senior studying ballet in St. Louis. “I felt completely transported into the world that Paul made,” she says. “What always kept me coming back to the next audition was how I felt doing Taylor’s movement. It’s very full-bodied and satisfying. I always feel like there’s something to really sink your teeth into.” [Read more →]
March 13, 2014 No Comments
How fighting and dance combine in Broadway’s Rocky
The new musical Rocky, now on Broadway at the Winter Garden, incorporates everything you’d expect from the classic film about a down-on-his-luck Philadelphia fighter who boxes his way to glory. The iconic run up the stairs, the climactic battle between Rocky and Apollo Creed, and even snippets of “Gonna Fly Now”—they’re all present and accounted for.
But it’s the movement of the boxers—a fascinating blend of dance and fighting—that reminds us we’re in the theatre, not the cinema.
Behind all the punches (and the groovy 70s numbers) sits an unpredictable team of Broadway choreographers: Kelly Devine and Steven Hoggett. Devine, of Rock of Ages fame, has a knack for high-energy sequences that pop with sass and pyrotechnic kicks and turns. Hoggett, whose diverse projects include Once and Peter and the Starcatcher, crafts phrases built largely on pedestrian movements that evolve into transcendent gestures.
Once this partnership was in place, the duo searched for performers who could maintain their agile dancers’ minds and move like authentic boxers. The choreographers say that while both dancers and boxers have intrinsic body awareness and an ability to memorize movement, the similarities end there. “We had to find dancers who could flip a switch to go from choreography to boxer movement that’s more about shifting weight than pretty shapes,” Devine says.
This proved challenging both in group numbers and when working with principals. “We’ve had this ongoing creative process where our two leads have to learn the choreography, then unlearn it and do it as boxing, and then find the middle ground between the dance and the fight,” says Hoggett. “It can’t be too heavily in the boxing arena because that increases the risk of injury. But if it looks like solid choreography, we’ve lost the battle, too.” [Read more →]
March 12, 2014 No Comments
In her new dance piece, Jody Oberfelder turns biology into art
While big-budget extravaganzas and classical dance are firmly planted uptown, it can seem like the world of downtown dance–the one that inspires awe with its inventiveness—has gone the way of the landline.
But fear not: The avant-garde’s heart is thumping quite loudly in 4CHAMBERS, a new dance-theatre piece from Jody Oberfelder.
Running through March 22 at Williamsburg’s Art@Renaissance, 4CHAMBERS asks audience members (12 per performance at most) not only to share physical space with the performers, but also to engage in myriad activities themselves, providing an opportunity to explore the most intimate subject of all: the heart.
“When you see dance on a proscenium stage, you watch and are dazzled,” says Oberfelder. “You feel connected in a way. But I always wondered: How does watching dance physically affect someone—affect their heart? That’s the point of the immersive aspect. Since each audience member is personally led by a dancer-docent who engages with them, the individual is truly connected to the performance when the dancer dances or when they join in [themselves]. I was hoping to find out: How and why is the heart a metaphor for love and life? Can you go through the chills and spills of the performer yourself as an audience member? And most importantly, how are we moved by something?”
Throughout the hour-long performance, each patron is led by a dancer-docent through four veritable heart chambers, connected by veins of hallways. The rooms contain a mishmash of experiences: a free-form dance party, a learning lab filled with books and videos, and spaces to watch long phrases of Oberfelder’s athletic choreography performed at close proximity. (The movement includes complex partnering with massive lifts and pendulum kicks, and daring jumps off walls). There’s even a room where spectators wear heart monitors while they answer existential questions asked by an on-screen, interactive narrator. Throughout, the dancer-docent often takes a moment to place a hand on the watcher’s heart or rest the watcher’s hand on his or her own chest.
For Oberfelder, this is the latest iteration of a long-time fascination. In an earlier piece, Throb, dancers wore heart monitors onstage. Oberfelder knew she wanted to take the idea further in a way that would immerse the audience, but at first, she wasn’t sure how. “My process is usually just to create movement in the studio,” she says. “But I had to figure out how to move an audience member and see how people can feel different connections. I knew I had to change my approach.” [Read more →]
February 25, 2014 No Comments