Serenades, plainspoken and otherwise, from Balanchine & Millepied

ringer repost cover

New York City Ballet’s Ask la Cour with, left to right, Rebecca Krohn, Jenifer Ringer, and Ashley Bouder in George Balanchine’s “Serenade.” Photo ©Paul Kolnik and courtesy NYCB.

Copyright 2010, 2017 Harris Green

NEW YORK — City Ballet broke with several traditions by beginning its new season with four weeks of early fall performances (September 14 – October 10). The traditional opening-night gala was delayed until the middle of the fourth week so seats that first evening could go for the special introductory prices of $50 and $25. Repertory included such novelties as the New York premiere of Benjamin Millepied’s recent “Plainspoken” on October 7 and revivals of Peter Martins’s rarely performed “Grazioso” (2007) and “The Magic Flute” (1982). Also out of the ordinary was an aggressive merchandising campaign built around a posh 9-by-12-inch booklet filled with studio portraits of principal dancers which was available for the taking in the theater lobby. Photographer Henry Leutwyler filmed everyone in casual poses and garb a la People Magazine. Most of the men are sporting the scraggly beards the guys insist upon growing between seasons. Daniel Ulbricht, however, is not only clean shaven, but the one dancer whom Leutwyler captured performing an actual step: a soaring 180-degree split leap, with ballerinas Teresa Reichlen, Sterling Hyltin and Sara Mearns seated on the floor behind him. (Yes, seated.) Letters to the editor and postings online promptly deplored the devastation such informality wreaked upon the dancers’ images as golden, gifted beings, so unlike us folks out front. Frankly the only dancers’ images that matter to me are those they create onstage.

To receive the rest of the article, first published on November 3, 2010, including lots more photos, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider  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. Just designate your PayPal payment to paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros. Through June 30 it’s pay as much as you can subscriptions. (Minimum $12.)

The Buzz: Philistines at the temple — The unbearable lightness of Alastair Macaulay

By Paul Ben-Itzak
Copyright 2010, 2017 Paul Ben-Itzak

First published on December 6, 2010. For nearly 20 years, these are the kinds of stories the Dance Insider has been covering. If you value this kind of unique coverage, please support the DI today by becoming a yearly subscriber. Your sub gets you access to more than 2,000 Flash Reviews of 20 years of performances on five continents by 150+ writers, plus five years of the Jill Johnston Letter, syndicated exclusively on the DI. You can subscribe or donate through PayPal by designating your payment to paulbenitzak@gmail.com , or write us at that address if you prefer to pay by check. Through June 30, it’s pay as much as you can subscriptions. (Minimum $12.)

In a feeble attempt to counter his being called out by myself and others over his latest cat-calling masquerading as criticism, in which he snipped that New York City Ballet’s Jenifer Ringer and Jared Angle, seen in “The Nutcracker,” must be eating too many sugar-plums, Alastair Macaulay has now made it clearer than ever how unqualified he is to be a critic. How long is his shameless employer the New York Times going to continue embarrassing itself and denigrating the high arts of dance and criticism by setting loose this unqualified intellectual feather-weight on a major high art?

In a response to my and others’ criticism published in Saturday’s Times, Macaulay’s attempt to justify his picking on performers for what he considers to be their excess pounds actually backfires, instead revealing his own lack of substance as a critic and total lack of understanding of what art is all about.

“Go to any gallery and you see how painters and sculptors for centuries have made fat an issue,” Macaulay writes. “The nudes of Titian, Rubens, Rembrandt, and Renoir show women with curves that are no longer part of any fashionable idea of beauty. Venus or Diana had a belly like that? I love most of them myself, but I have friends who object. Either way, all of us acknowledge that weight plays a part in our response.” What you mean ‘Us,’ white man?

Not content to confine his philistine perspective to one art, Macaulay is now angling to become the Times’s resident village idiot on the visual arts (which is not to insult the village idiot, who would be expected to be less judgmental). This statement has got to be the most idiotic I’ve ever read from the mouth of an alleged critic. It’s almost hard to know which idiocy to start with.

The ‘issue’ for Renoir was not ‘fat,’ but how to use nature (chiefly light), matter (his painting tools), his own technical prowess and aesthetic perspective, and his human subjects to make a work of art. And a critic is not “all of us.” His or her role is to evaluate the work of art — how, and how well, the artist uses the tools of his trade to capture the subject, be it on a canvas or on a stage, how effective the work is as art – and to respond to it, tapping on a range of his own individual intellectual, aesthetic, poetic, and sensory resources.

“Some… have argued that the body in ballet is ‘irrelevant,’ Macaulay goes on. “Sorry, but the opposite is true. If you want to make your appearance irrelevant to criticism, do not choose ballet as a career…. I am severe — but ballet, as dancers know, is more so.” No Alastair: If you can’t tell the difference between appearance and art, between surface sheen and technical virtuosity, do not choose criticism as a career. And the problem with you is not that you are too severe, but that you are so superficial. The only legitimate weight problem here is the featherweight quality of your pen and your intelligence.

 

Stratospheric Dance

Tulsa re-post finalSoo Youn Cho and Alfonso Martin in Tulsa Ballet’s production of William Forsythe’s “In the Middle, Somewhat Elevated.” Photo copyright Rosalie O’Connor.

Copyright 2010, 2017 Alicia Chesser

TULSA — For the past 15 years, Tulsa Ballet artistic director Marcello Angelini has been leading his company to this moment, when it could not only obtain the rights to perform works like William Forsythe’s “In the Middle, Somewhat Elevated” and Jiri Kylian’s “Sechs Tanze,” but actually perform them with the skill, stamina, and artistic maturity they require.

It feels like a turning point.

To receive the rest of the article, first published on December 18, 2010, including more photos + a bonus story by Tulsa Ballet artistic director Marcello Angelini written exclusively for the Dance Insider,  subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year 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. Just designate your PayPal payment to paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros. Just want this story? Donate $5 through PayPal to paulbenitzak@gmail.com then send an e-mail to that address with “Tulsa” in the subject line.

Hot off the boards….

josephine barbican 3Aki Tsujita in Darren Johnston’s “Zero Point.” Foteini Christofilopoulou photograph courtesy the Barbican.

LONDON — The muffled, thudding beat of Tim Hecker’s ambient sound score reverberates through our bodies — it’s like the noise you might hear waiting outside a cool nightclub. The dazzling bank of lights rotates towards the audience, blinding us before diminishing and plunging both stage and auditorium into darkness. Smoke fills the stage and laser lights shine down on it from above to create giant cones of mist. This is the hypnotically dramatic opening to Darren Johnston’s “Zero Point,” seen at the Barbican on May 26. A male dancer emerges from the claustrophobic gloom upstage and walks meditatively into one of the cones, fluidly progressing through a series of sculptural poses, working within the confines of the translucent edges. He leaves as two women emerge and take up position in the other two cones. In slow motion they sink to the ground then rise up again, turning, then repeat these motions, their mouths gaping open like gargoyles from an ancient civilization. Their physical language mixes Butoh, contemporary and Eastern ritualistic dance. It’s strong and grounded.

British choreographer and visual artist Johnston works with perception-altering visual and aural effects in “Zero Point,” which takes its name from Quantum Physics’s notion of ‘trapped’ space. Video projections, motion sensing digital technology, and trancey music transform the stage into another galaxy while lighting effects unzip the darkened stage into geometric sections for the dancers to perform in. Even time seems to be momentarily suspended.

“Zero Point” is a work that has been inspired by Johnston’s residency at the Museum of Art in Kochi, Japan. His cast of nine Japanese dancers who collectively draw from a range of disciplines including ballet, contemporary, Butoh, and Qigong are alumni of Tokyo’s New National Ballet, Sankai Juku, Netherlands Dance Theatre, and the Forsythe Company. The mixture of styles is performed with a contemplative quality and presence that is inspired by Buddhism and sacred Japanese ceremonial spaces. Movement flows in repeated cycles, with frozen poses pausing the tempo and the performers embodying a theatrical neutrality and modesty. Energy is contained and protracted through their bodies. There’s a welcome stillness and an aura of calm about them but also a lack of humanity. Sitting in the auditorium, I feel distanced from the performers and yearn for a fuller immersive experience.

Loose narratives of re-birth are played out through duets between Yatsutake Shimaji and ballerina Hana Sakai. He carries her onstage then makes her come to life, his hands hovering over her body, commanding her actions as if she’s his puppet. She ascends from the floor and extends to her full height on pointe, before gliding towards him as if under his spell. In their partnering Sakai and Shimaji create imaginative tableaux, but the use of balletic lines, while visually striking in the fractured light, lacks the earthy connection that is seen in the shapes of the contemporary and Butoh dancers. The demanding, ambitious Western associations of ballet jar awkwardly with the selfless Eastern spiritualism of the work as a whole. This balletic duet is also annoyingly patriarchal and while the other women move as equals to the men, with their freer expressions, Sakai does not, restrained by both her partner and her discipline.

While “Zero Point” is a reflective and inventive work which can easily seduce, choreographic ideas feel somewhat undercooked.

The DI, Year 1: Viennese dances for the people

By Tara Zahra
Copyright 2000, 2017 Tara Zahra

VIENNA — “Volksoper” translates literally into “people’s opera,” and it was a good deal of fun to discover Tuesday night at the Volksoper Wien that the Viennese Volksoper is supporting dance for the people as well. “Sintflut,” which premiered Friday here, was an evening-length modern dance production based on the story of Noah’s Ark. The piece has the potential to reach out to even the most resistant audience, and to make children beg for dance lessons. Of course, I have been told that in Europe “outreach” is not a part of the vocabulary for dance companies, for whom an audience is a given. But Vienna is a city known for its music and not its dance, so it was a pleasure to see a new work from a Viennese choreographer which brought in a respectable crowd on a Tuesday night. (The practice of selling tickets at half price to students, military, and the unemployed an hour before curtain time must help.)

To get the rest of the article, first published on June 22, 2000, subscribers please 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 1999 through 2015. Just designate your PayPal payment in that amount to paulbenitzak@gmail.com , or write us at that address to find out about payment by check or in Euros. You can also purchase a complete copy of the Archives for just $49 (individuals) or $99 (institutions) Contact Paul at paulbenitzak@gmail.com .

The DI, Year One: Dance Theater that dreams are made of from Needcompany, Ballet Frankfurt, and James Joyce

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

PARIS — The main reason I love dance is its ability to dream, and to help me dream. It dreams every time a dancer leaps for the sky, and everytime she contracts her abdomen. It dreams when a lover instinctively clutches a partner and when the partner instinctively falls into the lover’s arms and is caught. It lives from image to image, with the flow of a dream; nothing seems pre-meditated, everything seems instinctual. As in a dream, the connections aren’t always logical, or even readily decipherable. But also like a dream, the images convey a tangible, not always describable, feeling. With “DeaDDogsDon’tDance,” which sold out three performances this weekend at the Theatre de la Ville – Sarah Bernhardt here, Needcompany and Ballet Frankfurt have upped the anti, creating a danced play that presents as totally unpremeditated. This is as rough and raw as it gets, folks — the stuff that dreams, and nightmares, are made of.

To receive the rest of the article, first published on November 6, 2000, 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, plus five years of the Jill Johnston Letter. Just designate your PayPal payment to paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Purchase by May 31, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at paulbenitzak@gmail.com .

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 .