The DI, Year 1: Conspicuous by their Absence — Blacks’ Lack in Ballet Matters

By Paul Ben-Itzak
Copyright 2000, 2017 Paul Ben-Itzak

NEW YORK — The other day at the Children of Uganda performance, I saw something that I rarely see at the ballet: Black people. Not just on stage, but in the audience. Actually, the two are related. I believe the reason I rarely see black people at the ballet (with the exception of Dance Theatre of Harlem) is that there are so very few — and in the case of American Ballet Theatre, no — black people on stage. This is not meant to infer that black people just want to see black performers. Rather, when a company, such as ABT, is so lilly white, the message is that this is not a black-friendly environment. So it was refreshing Monday night to go to an event that indicates that another company, Pittsburgh Ballet Theater, is not just welcoming blacks into its house, but going to their house.

To receive the rest of the article, first published on March 7, 2000, subscribers can contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the DI for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Archive of 2,000 exclusive reviews by 150 leading critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check or in Euros. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Purchase before May 7, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at paulbenitzak@gmail.com .

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Welcome to America, Mr. Trump

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Maria Kowroski in Balanchine’s “Mozartiana.” Photo copyright Erin Baiano and courtesy Dances Against Cancer.

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Sterling Hyltin and Amar Ramasa in Balanchine’s “Who Cares?” Photo copyright Erin Baiano and courtesy Dances Against Cancer.

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Alex Wong in Rachael Poirier’s “747.” Photo copyright Erin Baiano and courtesy Dances Against Cancer.

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Juilliard Dance students in Nijinska’s “Les Noces.” Photo copyright Rosalie O’Connor and courtesy Juilliard.

Story Copyright 2011, 2017 Harris Green
New Editor’s Note by & copyright Paul Ben-Itzak

(Editor’s Note, 1-31-2017: This piece, comprising reviews of performances by and of the Juilliard School, the School of American Ballet, American Ballet Theatre’s Jacqueline Kennedy Onassis School, Venti Petrov’s “El Cid” — an epic tale which in part concerns Spain’s Christians *and* Muslims banding together to repel foreign *military* invaders — and a star-studded Dancers Against Cancer benefit with performances by Maria Kowroski, Daniel Ulbricht, Matthew Rushing, Alex Wong, Sterling Hytlin, Amar Ramasa, and others in work by Balanchine and others, was first published on June 24, 2011. Serendipitously re-viewing it this morning for inclusion in the DI Archives, I was struck by how both Harris’s text and the accompanying photographs, while neither written nor shot with this intent, formulate an eloquent aesthetic response to Donald Trump’s attempts to exclude from the United States a myriad of immigrants and refugees, beginning with an executive order last Friday. ((Among many other pictorial and textual elements in this story, following Mr. Trump’s logic, neither Stravinsky nor Balanchine, as citizens of a country besieged by Bolshevik terrorism, would ever have been admitted to France, let alone the United States.)) The new headline above, thus, as this note, are my entire responsibility and do not necessarily reflect the opinions of either the critic or the photographers. For continuing coverage of the national and international political, legal, and community response to Mr. Trump’s efforts, check out the daily broadcasts of Democracy Now.  — PBI)

NEW YORK — Because off-Broadway theater has long proved essential to this city’s artistic life, “off-Broadway dance” should not be considered a patronizing term for what is offered away from City Center and the gilded confines of Lincoln Center when major companies are between seasons. One reason I would hesitate to apply the term to recent spring offerings of the Juilliard School’s Dance Division, however, is that this institution’s renovated home, the Irene Diamond Building, is not only on Broadway but a stunning steel and glass addition to the neighborhood. Another is that the program “Juilliard Dances Repertory” (March 23-27), by including Bronislava Nijinska’s rarely seen but historically essential 1923 setting of the Stravinsky powerhouse “Les Noces,” made a stunning contribution to our artistic life out of all proportion to its occasionally raw, unflaggingly dedicated performance by 34 students. (For more on this ballet as interpreted by the Paris Opera Ballet, see Paul Ben-Itzak’s Flash, elsewhere in these DI Archives.)

To receive the rest of the article, subscribers can contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Archive of 2,000 exclusive reviews by 150 leading critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check or in Euros. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Purchase before February 14, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at paulbenitzak@gmail.com .

American Ballet TheatreAmerican Ballet Theatre in Alexei Ratmansky’s “Serenade After Plato’s Symposium.” Rosalie O’Connor photograph copyright Rosalie O’Connor and courtesy American Ballet Theatre.

Copyright 2017 Harris Green
Photography copyright Rosalie O’Connor

NEW YORK — American Ballet Theatre’s fall season at what many of us will always refer to as the “New York State Theater” was a frequently rewarding two weeks. Along with a world and a local premiere, the repertory included one work each by Balanchine, Alexei Ratmansky and Twyla Tharp.

Only Frederick Ashton supplied two ballets. His exquisite “Monotones I and II,” conducted by David LaMarche, looked more at home in the smaller theater than it had in the Metropolitan Opera House. ABT had no difficulty casting it with six dancers who all exuded presence and authority. “Symphonic Variations,” however, was generally a dreary affair that shouldn’t be blamed entirely on a secondary cast. It was jolting to find Ashton denying his ballerinas the exquisite subtleties they could achieve with wrists and fingers by decreeing that at one point their hands be merely a rigid continuation of their arms, with the palms facing down.

And yes, I realize I have just committed An Arrogant Reviewer Error by giving a flaw a percentage of space in the review greater than the percentage of time the flaw occupied in the performance, but you should have seen those hands.

To get the rest of the article — and access 20 years of Dance Insider articles by Harris Green and other leading critics — subscribers can contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015, as well as the Jill Johnston Letter. To subscribe via PayPal, just designate your payment to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check, Euros, or British pounds. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions). Purchase before January 31 and receive a second, free copy for the recipient of your choice. Contact Paul at paulbenitzak@gmail.com .