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Fall for Dance, 2013
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Author:  balletomaniac [ Sat Sep 28, 2013 2:12 pm ]
Post subject:  Fall for Dance, 2013

Fall For Dance
City Center
New York, New York

September 25, 2013
“The Devil in the Detail” (Richard Alston Dance Company) (New York premiere);
“Esencia de Tango” (Gabriel Misse and Analia Centurion) (world premiere);
“The Bright Motion” (new Peck) (world premiere);
“Fe Do Sertao” (DanceBrazil)

-- by Jerry Hochman

For its tenth anniversary season, City Center’s Fall for Dance Festival has scheduled its usual assortment of high quality dance from around the world at rock-bottom prices to appeal to viewers who may not regularly have the opportunity to see live dance performances. While the performances may be less inclusive than they were at the festival’s outset, and the audiences less bohemian (and the entry price a bit higher), the festival remains an eclectic sampling of dance that entertains and enlightens.

The opening City Center program (this year’s Festival informally opened with two free performances in Central Park last week) featured the usual conglomeration of dances not usually seen, or dancers seen in roles not seen previously. For me, the opening two dances were most successful, the pas de deux choreographed by New York City Ballet’s talented young choreographer (and soloist) Justin Peck was entertaining if not particularly exciting or novel, and final piece somewhat disappointing.

Richard Alston is a celebrated choreographer in his native Britain, and the popularity of his choreography, and his company, has grown steadily since the company was formed in 1994. I missed the company’s previous appearance at FFD in 2011, but “The Devil in the Detail,” to music by Scott Joplin, is a fine opportunity to get acquainted.

I’m sure there have been more dances choreographed to (or including) Scott Joplin music, but only one comes immediately to mind. I vaguely recall seeing Sir Kenneth MacMillan’s “Elite Syncopations” when the Royal Ballet visited New York a long, long time ago. I recall it being fun, as any ballet that includes Joplin music should be, but weightier than the music and highly theatrical – somewhat glitzy and over-the-top. That is, not any imagined moving images that might be generated while watching “The Sting.” With “The Devil in the Detail,” which premiered in 2006 at Sadler’s Wells, Alston did it simple, and got it right.

Choreographed to seven Joplin pieces, including the popular “Maple Leaf Rag,” and “The Entertainer,” “The Devil in the Details” is, choreographically, as visually light and effervescent; jazzy and as uncomplicatedly complex as Joplin’s music, enhancing Joplin’s syncopation without commenting on it. Without being familiar with Mr. Alston’s style, I thought I saw similarities to Paul Taylor and Twyla Tharp, but the stylistic genesis doesn’t really matter. [Alston studied with Merce Cunningham, but, at least based on the musicality and lyricism of this piece and “A Rugged Flourish” a dance he created for New York Theater Ballet, his choreography bears no relationship to Cunningham’s.] I thought it was fabulous, and a perfect introduction to FFD’s decennial celebration.

The dancers were, uniformly, as delightful to watch as the choreography. In alphabetical order, they were: Elly Braund, Oihana Vesga Bujan, Jennifer Hayes, Marianna Krempeniou, Nancy Nerantzi, Ihsaan de Banya Nathan Goodman, James Muller, Liam Riddick, and Pierre Tappon (based on company images, since I’m not familiar with the dancers, Ms. Nerantzi, Ms. Bujan, Mr. Goodman and Mr. Riddick appear to have had the predominant roles).

If “The Devil in the Detail” is a sort of sparkling Beaujolais, “Esencia De Tango” is robust and complex as the best Cabernet Sauvignon. Argentine Cabernet.

I am not familiar with Argentine Tango, other than as popularized in “Dancing with the Stars”. “Esencia de Tango,” however, was ‘Dancing the Real Tango with the Real Stars.’ The piece, choreographed by Gabriel Misse and Analia Centurion, whose names comprise the company name (Mr. Misse is the Artistic Director), purports to trace the development of the Argentine Tango from its inception to the present day in a series of sketches. That bare description doesn’t do it justice. The piece is all flying footwork, fiery testosterone and sultry estrogen, combined in a presentation that was interesting and informative, and charming and explosive. Mr. Misse and Ms. Centurion were sensational, as were the two dancers who shared the stage with them, Carlos Barrionuevo and Mayte Valdes (and it would not be inappropriate to describe the dynamic Mr. Misse as an Argentine Lord of the Dance). The original Bandoneon music was by JP Jofre, who played the instrument during the performance. [The Bandoneon is a sort of small accordion, a popular accompanying instrument to the Tango.]

The subsequent piece on the program was a pas de deux by Justin Peck, “The Bright Motion,” for New York City Ballet Principal Sara Mearns and Dutch National Ballet principal Casey Herd. The piece was exquisitely danced by Ms. Mearns, and looks good. Mr. Peck’s choreography is pleasant enough to watch, but his choreographic palette here is limited, and although the piece is ‘about’ something, the emotional component appears restricted to Ms. Mearns’s understated despair. Mr. Herd’s role is similarly limited (he had little to do but keep Ms. Mearns upright and assist her movement around the stage). The piece relies almost exclusively on Ms. Mearns’s stage charisma, but that’s enough to make it work.

The evening concluded with DanceBrazil’s “Fe Do Sertao” (adapted to FFD), featuring choreography by Jelon Vieira and an original score by Marquinho Carvalho. The title is not translated in the program, but based on online definitions it means: ‘faith of the Sertao’ (the Sertao is an arid inland region of Brazil, described as being similar to the Australian Outback).

Brazilian dance can be gloriously exciting to watch, but to me, for all its abundant energy, this piece fell flat. Enthusiastically performed by its company of ten dancers, two of whom were women (with four musicians), “Fe Do Sertao” is a combination celebration of tribal community sense (the dance is primarily a company-wide affair, with occasional solos and duos); ritual reverence for nature’s gifts (the sun rises; it rains; presumably crops grow; and people live another day); and the dancer’s boundless energy and athleticism (with occasional bravura acrobatics – the equivalent, perhaps, of ballet ‘tricks’ – thrown in). But for all its exuberance and athleticism, this presentation didn’t match the excitement and finesse of previous performances of Brazilian dance I’ve seen at FFD. It was all pull down; jump up; push/pull; with an occasional tumble and trick.

But overall, this program was as wonderful way to begin Fall for Dance’s second decade.

Author:  Francis Timlin [ Mon Sep 30, 2013 11:51 am ]
Post subject:  Re: Fall for Dance, 2013

Gia Kourlas reviews the Friday, September 27, 2013 performance for the New York Times.

NY Times

Author:  Francis Timlin [ Fri Oct 04, 2013 11:31 am ]
Post subject:  Re: Fall for Dance, 2013

Alastair Macaulay reviews the October 2, 2013 performance of Program 4 for the New York Times.

NY Times

Author:  Francis Timlin [ Sun Oct 06, 2013 5:43 pm ]
Post subject:  Re: Fall for Dance, 2013

Gia Kourlas reviews the Friday, October 6, 2013 performance of Program 5 for the New York Times.

NY Times

Author:  balletomaniac [ Mon Oct 07, 2013 3:51 pm ]
Post subject:  Re: Fall for Dance, 2013

Fall For Dance
City Center
New York, New York

October 1 and 2, 2013
Program 3: “The Moor’s Pavane” (American Ballet Theatre); “The Turn” (Colin Dunne); “Sombrerisimo” (Ballet Hispanico); “Sinfonia India” (Introdans)
Program 4: “SOUNDspace” (Dorrance Dance); “Mo(or)town/Redux” (Doug Elkins Choreography, Etc.); “Fratres” (The Royal Ballet); “The Rite of Spring” (Martha Graham Dance Company)

-- by Jerry Hochman

The third and fourth programs in this year’s five-program series of the Fall for Dance Festival, overall, provided two extraordinarily fine evenings of dance. While not every one of the eight dances was a complete success, each had individual merits, and several were memorable.

At the outset, I must recognize Martha Graham Dance Company’s performance of Ms. Graham’s 1984 version of Igor Stravinsky’s “The Rite of Spring.” In March, 2012, when the Company returned to City Center for a gala performance after a lengthy period of discord following Ms. Graham’s death, I observed that the Company was back, dancing brilliantly under Artistic Director (and former Graham Company principal) Janet Eilber, and should be around for a long time to come. Ms. Graham’s ‘Rite,’ recently resurrected, is further proof. For me, Ms. Graham’s choreography, and the company’s sparkling performance of it, was the highlight of those FFD performance I attended this year.

The two FFD programs, perhaps unintentionally, provided an interesting opportunity to compare different approaches to a particular story, or to a particular form of dance.

Tuesday’s program opened with American Ballet Theatre’s performance of Jose Limon’s masterpiece, “The Moor’s Pavane.” I’ve written about Limon’s work previously, so will not discuss it at length now. Suffice it to say that I regard it as one of the pivotal works of art of the Twentieth Century, distilling the timeless Shakespeare tragedy to its essence, and placing it in the context of a dance form temporally and geographically appropriate to the story. At this performance, Francisco Ruvalcaba, a dancer with the Limon Dance Company appearing as a guest artist, played ‘the Moor’ (Othello). Without doubt Mr. Ruvalcaba successfully executed the Limon technique, but to me he lacked the power that Marcelo Gomes provided in ABT performances of the piece last year. Thomas Forster, a member of ABT’s corps, similarly lacked the power and villainy I’ve seen in previous portrayals of ‘His Friend’ (Iago). Stella Abrera was first-rate as ‘His Friend’s Wife’ (Emilia); and Julie Kent was an appropriately sympathetic and stricken “The Moor’s Wife” (Desdemona).

The following evening, program 4 included “Mo(or)town Redux,” Doug Elkins’s ‘movement conversation’ with the same Shakespeare story as well as the Limon refinement of it. Taking his point of departure from Limon, Elkins distills the play to the four primary characters, but applies the action to a ‘Motown-inspired score’ and applies a rough and raunchy contemporary veneer. This isn’t your father’s, or Limon’s, or Shakespeare’s Venice. While I wouldn’t put it in the same league as “The Moor’s Pavane,” it’s an interesting interpretation.

The piece opens to a scene relating the sexually-charged relationship between ‘Othello’ and ‘Desdemona’. [The characters in the dance are not identified by name; I’m using the names that the characters correspond to in the play.] But there’s nothing either important or heroic about this Othello, although we do get a sense of self-importance and swagger – he’s full of himself. He could be a star athlete (the film “O” comes to mind), or a gang leader or pimp. To me, beginning the piece this way was a mistake – without a fallen hero, the story loses one of the components that made Shakespeare’s play a tragedy. Nevertheless, after that initial scene, and despite my view that the connection between the stage action and some of the Motown song choices seemed forced and tenuous at best, I grew to appreciate the way in which Elkins molded the plot onto Motown-inspired ‘street’ movement as Limon had done with the Henry Purcell music and the more constraining form of the pavane. And as a natural, but skillful, consequence of this update, Elkins’s piece provides a dose of sexual tension that the Limon piece lacks. Kyle Marshall and Donnell Oakley performed convincingly as ‘Othello’ and ‘Desdemona’, but Cori Marquis’s ‘Emilia’ and Alexander Dones’s ‘Iago’ were particularly impressive, with Mr. Dones successfully conveying the sleaziness and treachery that must be a component of any portrayal of Iago.

The two programs also featured different examples of tap dancing. In Program 3, Colin Dunne presented the U.S. Premiere of his solo piece “The Turn,” and in Program 4, Dorrance Dance performed “SOUNDspace” (adapted for Fall for Dance), choreographed by Artistic Director Michelle Dorrance.

Ms. Dorrance’s company has gained considerable favorable and well-deserved repute in the past few years (the company was formed in 2011) for its revolutionary expansion of tap into the realm of contemporary dance. Where Dorrance Dance shines is in Ms. Dorrance’s eclectic and dynamic choreography (it’s tap, but with a difference, and an edge), and the extraordinary skill of its dancers. “SOUNDspace” exemplifies this. Reflective of Ms. Dorrance’s concept, the piece integrates the entire company of 12 dancers (including her) into the performance, and takes the audience with them. It is a tour de force for the entire group, and a thrilling example of kinetic energy unleashed.

The piece also appears to attempt to connect tap with sound, and to create music – a sound space – using the sound created by tap essentially as the music of the piece. But to me this is nothing new – sound, particularly when performed on a microphoned platform for the purpose of amplifying sound as is done in “SOUNDspace,” is an inherent component and consequence of tap. The sound of tap shoes hitting the platform created sound to me, but nothing more. And in “SOUNDspace,” it didn’t need to. On the other hand, Mr. Dunne’s piece has a clear and intentional connection between tap (and associated movement) and music.

Mr. Dunne is an Irish step dancer of international renown, and “The Turn” clearly exemplifies his stature. But “The Turn” is more than a well-crafted solo Irish step dance. According to the program notes, Mr. Dunne has recently modified his creative path, crossing over into contemporary dance and theater. I saw “The Turn” as a bridge between Irish step dance and tap (as well as theater), and much of the movement quality looks and sounds like tap. Here Mr. Dunne goes beyond that natural connection between feet hitting the floor and sound, deliberately changing the nature of the sound, at one point spreading a sound-muffing carpet over the platform top, and at another point making sound by the ‘swoosh’ of his foot, without actually contacting the platform top. [I don’t know if the ‘swoosh’ sound was created by Mr. Dunne’s actual movement, or was skillfully interwoven into an accompanying sound track, but the point is made either way.] The deliberate connection between sound and movement that Mr. Dunne creates is as exciting as it is entertaining. Further, Mr. Dunne uses this sound creation as an accompaniment to music by Linda Buckley titled “The Turn – Dance in Your Blood” (Ms. Buckley also handled the live sound processing), essentially making the sound of his feet an equal musical player. I found it extraordinary. The artists on stage who played instruments rather than feet were Katherine Hunka and Anna Cashell (both on violin), Cian O Duill (viola), and Rudi De Groote (cello), and they played with the skill and spirit to match Mr. Dunne’s dance.

Tuesday’s program concluded with the World Premiere of ”Sombrerisimo,” danced by members of Ballet Hispanico, and the U.S. Premiere of Sinfonia India, performed by Introdans.
Over the years, audiences at FFD appear to be particularly responsive to highly energetic and aggressively athletic dances, particularly when the dancers are male. “Sombrerisimo,” choreographed by Annabelle Lopez Ochoa (and commissioned by FFD), is an example of such ‘macho’ dance, but with a degree of finesse and some humor grafted onto the machismo. To accompany the athleticism, there’s lots of dancing with hats (wearing them, exchanging them, playing roles inspired by them), swiveling of hips, and tangling and untangling of knots of dancers and hats. It’s clever, and requires precision timing as well as masculine energy, and was niftily performed by Christopher Bloom, Jamal Rashann Callender, Alexander Duval, Mario Ismael Espinoza, Marcos Rodriguez, and Joshua Winzeler. However, it’s use of the hats (the hats aren’t sombreros) is too remindful of Twyla Tharp’s “Push Comes to Shove,” both in the hats’ use, an overall sense of irreverence, and in particular that hat-tossing ending.

According to the program notes, “Sinfonia India,” choreographed by Nacho Duato, was inspired by ritual dances of the Mexican Indians. Aside from the vibrant costumes (by Mr. Duato) and sunkissed set (scenery by Walter Nobbe; lighting by Nicholas Fischtel), I didn’t get any of that, but it didn’t matter. The glorious music on which the piece was created (“Sinfonia India, Symphany No. 2” by Carlos Chavez), which brought to mind the sense of majestic and reverent buoyancy that is typical of Aaron Copland, was matched by Mr. Duato’s lyrical, airy (albeit it somewhat repetitious) choreography. Combined with the energetic and appealing performances by the dancers, Sinfonia India, which received its initial performance in 1984 with Nederlands Dans Theater, is a crowd-pleaser.

Program 4 concluded with the world premiere of “Fratres,” a pas de deux choreographed by Liam Scarlett, and the Graham Company’s “The Rite of Spring.”

Commissioned by FFD, “Fratres” was choreographed by The Royal Ballet’s artist-in-residence Liam Scarlett (who is choreographing a piece for New York City Ballet in Winter, 2014), and was danced by two Royal Ballet dancers: Zenaida Yanowsky and Rupert Pennefather. It is an exquisite little duet that takes its inspiration from Arvo Part’s “’Fratres’ for Cello and Piano.” Like Part’s composition, the pas de deux is a partnership between two instruments, one supporting the other, but both intertwined. At times the piece is lyrical, at time angular, but at all times the two dancers are interconnected and mutually supportive, moving like the interconnected and mutually supportive notes of Part’s composition. It is starkly sweet; a relationship of interdependence, exquisitely performed.

There’s nothing stark or sweet about Martha Graham’s “The Rite of Spring.”

I can’t claim to have seen all, or most, choreographed versions of “The Rite of Spring.” Prior to seeing Ms. Graham’s piece, the most impressive to me was a marvelous ‘small’ version performed by the Joyce Trisler Dancecompany at Riverside Church in Manhattan in the mid-1970s. I don’t know if I consider Ms. Graham’s version ‘better,’ but it’s certainly ‘bigger.’ Most important, however, is that like my recollection of the Trisler version, Ms. Graham’s is true to the Stravinsky score. It is an epic “The Rite of Spring” with a touch of DeMille (Cecil B.), but it’s not over-the-top: it’s the score brought to life, choreographed and staged with all of the score’s pounding pulse, primitive grandeur, ritual ceremony, and naked terror. And if your heart doesn’t skip a few beats when the Shaman abducts the Chosen One like a lion pouncing on a deer, you probably don’t have one.

Ben Schultz was the imperious Shaman, convinced that sacrifice is essential and his selection of sacrificial victim ordained, and Blakeley White-McGuire, the terrified Chosen One for whom resistance is not an option. Both were extraordinary, as was the supporting cast of thousands (15 dancers). The Martha Graham Dance Company is scheduled to perform “The Rite of Spring” when it returns to City Center for a brief season in March, 2014. It should be seen.

It was an extraordinary climax to a very fine pair of Fall for Dance performances, among the best I’ve seen over the past ten years. Both programs demonstrated that FFD has been successful not only because of the reduced price of its tickets, but for the quality of its presentations.

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